#s3 round 2 lets go girls!

[greenqueenhightower]

ok so I saw that alicent is pregnant… and she'll give birth to Maelor or take moon tea and abort the baby…pls tell me that it’s all a bad dream :(

*Spoilers Ahead* Oh, dear anon, I wish I could tell you it’s all a bad dream 💚

I saw the leaks as soon as they came out and for days I’ve been discussing them with friends and mutuals. If it gives you any consolation, we know only that Alicent will feel her stomach in episode 4, ask the maester to prepare 🌙 ☕️ , and then drink it secretly. I’ve read all kinds of interpretations for this, but please be reminded that this is all we’ve got in terms of the leaks; the rest is speculation. Three scenarios are floating around:

a) Alicent takes the moon tea as a form of birth control. This implies that it’s not the first time she’s taken it, and it’s her regular habit to take some after she’s had sex with Criston. I think the way the scene is set up and delivered in episode 4 will determine whether Alicent has asked for moon tea before (What is her reaction? Does the maester seem to have prepared this before for her? Does he speak as if she’s asked him to make moon tea for the first time?).

b) Alicent takes moon tea as a form of abortion. The way “Alicent feeling her stomach” is interpreted is that her pregnancy is advanced (although idk how that can make sense given that Alicent and Criston have been having sex for a few weeks?) or that she fears she might be pregnant because she has failed to take moon tea this whole time and she might be experiencing the early symptoms of pregnancy like nausea, fatigue etc (which would make her pregnancy around 2-4 weeks, but certainly not at a stage when she can feel anything in terms of movement. Perhaps she’s touching her stomach out of concern and fear for what she has to do.)

c) Alicent takes the moon tea, but she stays pregnant nonetheless, and this pregnancy results in the birth of Maelor. The speculation gets wonky after that. I’ve read all kinds of things, that Alicent tries to kill herself by the lake as we see in the trailer (I’d hate that!) and even that she marries Larys to conceal the bastardy (since Criston’s vows as a white cloak are for life and they can’t get married, and if he’s found out to be the father he’ll be executed).

My overall reactions:

I would be fine with Alicent taking the moon tea as a form of birth control or abortion if the show does not melodramatize this moment or exploit it to give Alicent further reasons to resent herself and additional “sins” to atone for the whole season. Please, writers, let her move beyond that characterization and give us further insight into her psyche and a well-rounded portrayal of her character.

In case her pregnancy is advanced, taking the moon tea can be extremely dangerous (we know this because it almost killed Lysa) so I wouldn’t want to see this pain inflicted on her. We also know that there are religious qualms for those who adhere to the faith of the seven regarding moon tea (Margaery was convicted because Pycelle confessed he brewed her moon tea six times) so I wouldn’t want my girl to go on hating herself for something like that.

Most importantly, giving Alicent a bastard child and making Maelor a bastard would be character assassination for me. I’ve read that the writers might go down this lane for the Rhaenicent parallels and to further highlight the tragedy and her “hypocrisy” but it just doesn’t make sense to me. It also highly affects both Alicent’s and Maelor’s arcs in S3. Therefore, I am hesitant to believe that the writers would so deviate from canon to show us Alicent pregnant with baby Maelor. Does this mean they can’t if they want to? No, it doesn’t, but the chance, at least to me, is very slim.

I hope I’ve alleviated your fears somehow! Let us see what actually happens.

[gleefullypolin]

Stacy's Tipsy Musings: Battle of the Stans Round 1 Colin

I'm baaaaaackkkk!

I've been silent for a while but I'm drinking Malibu and Watermelon Redbull tonight and thinking about all the things that have been hitting my dashboard lately and making me go....URRRGHHHHH!!!

This time it's the battle of the STANS!!!! Yes you heard me, it's when one side of the ship screams louder than the other about a certain opinion. Well I wanted to tear those opinions up one by one and see what a Polin Stan thought about it.

Disclaimer: This is all in good fun, I'm not trying to start a real fight here! These are just personal opinions that I feel come from one side and should really be looked at from the middle more. Peace love and shipping!

Round 1: Penelope

Sooo without further ado...Round 1...Its time to move to Colin Stans.

Colin Stans Round 1:

Consent or Deceit?

I feel like I keep reading this everywhere, “Colin wasn’t the one lying therefore it was Pen’s responsibility to stop Colin in the carriage or at their home from becoming intimate and therefore the responsibility lies entirely with Penelope that they went that far, and Colin holds no responsibility in the entrapment of the marriage since her secret came out AFTER they were engaged, and it was announced.”

And woah Nelly isn’t that a big smelly one. So, let’s talk entrapment.

I wanted to remove this word from my vocabulary after S3 aired. I never wanted to see it again after reading it in so many fics after the season aired. But what did it mean...and who is responsible for it?

Entrapment is the act of causing someone to do something they would not usually do by tricking them.

Ok so the argument is that because Pen was lying, only she could have entrapped Colin. Let’s break it down.

Colin ran in and interrupted her dance with Debling, the man she thought was about to propose to her, the ONLY man she thought would EVER marry. This man was the ONLY way out of her home and the life she was currently stuck in.

Dance interrupted; proposal nixed.

Pen runs out, thinking her life is now ruined, she is now still stuck in her life with her mother.

Colin busts into her carriage and basically says “Hey I have feelings for you.” And then the dream of her life comes true, and they are in the middle of snogging in a carriage. Let me tell you, our girl is not thinking...I am Lady Whistledown. She is thinking holy fuck, I’m kissing Colin Bridgerton. Shock #1

After our life altering make out, Colin proposes to her. Ok so, she wakes up from this dream of basically getting finger bombed by the man she’s always wanted, who says I’m not just trying to make out with you, I want to actually marry you. Shock # 2 for the night.

Now yes, she could have stopped him there and announced to him that she’s the person he hates most right now, but she did not. Let’s give her another beat to breathe.

The VERY NEXT DAY, Colin goes to her mother and says sit the fuck down woman I LOVE YOUR DAUGHTER! Shock #3

He then takes her to their new home and tells her he loves her .

He then starts undressing her, tells her she’s beautiful, and basically shows her what real desire is. SHOCK #4 in the span of like 48 hours.

So, no she is not thinking about Whistledown until the deed is done and her high is wearing off. She’s shell shocked and dicked down. And now what? She tells him and she’s completely ruined?

Yes, she consented to all of his intimacy, but did she PLAN to trap him in any of that. The girl saw none of it coming in 48 hours. Did she trick him into doing something he would not usually do? NO. Colin went willingly. So, there was NO entrapment on her part.

Should she have told him after all of that settled down, yes but again I ask you to tell me would you have done it at the engagement party. No. I will admit she had time the day after that, yes. Did she, no. That was on Pen. And yes, that was a mistake on her part.

But Colin did take that girl and shock her 4 times in 48 hours and ruin her in the eyes of the ton so whether his stans want to take any responsibility for that on his part or not, Colin did. And he would have married her regardless, because he loved her. But let’s be honest, Pen wasn’t tricked either into doing something she wouldn’t have done willingly either. She would have followed him into his house without a marriage proposal after that carriage ride if it meant getting more of that boy’s anything! She was down for it.

Polin Fan Knockout Punch: Win lose or draw,Colin said something when he was angry that he didn’t mean. No one was trapped, they got married because they loved each other. Now can we stop using that fucking word?

[summerfevers]

if you’re up to it i would very much like to know your white collar neal timeline🎤🎤

this turned out to have many asides and be very long so the tl;dr is: peter have you considered that he's just a twenty-something teenage girl :( ?

timeline:

neal born 1984 ish. he's an aries and a millennial

neal, ellen, and neal's mom go into witsec 1987, neal age 3

2003 adler scandal i fucking guess. neal age 19

neal arrested probably mid 2005, 21

neal goes to jail for the first time, i want to say early 2006, age almost 22

pilot is set late summer 2009, age 25

same-sex marriage legalized in new york june 24th 2011, they talk about this in season 3 episode 14 which is soon after. neal's 27

more or less a year later–let's go with less–neal tells sam that he has spent the last decade running from the truth he learned at 18. taking him literally that it was 10 years ago he is now 28 it is the end of season 4 and 2012

the end of season 4 to the series finale is less than a year. he is 29 its 2013.

when we see him in paris he might be 30 but that doesn't count To Me

i present my evidence:

i don't know where we got "neal is 35" from i cant make it work. neal and co. went into witsec (which i have actually since learned is not available to people living in dc, they have their own version but it is not overseen by the federal marshalls, i don't think they can give you as many legal documents like a ssn, and they don't help you set up your new life as much? something about neal's life that would be interesting to explore.) when he was three and ellen says in season 4 that she's been in witsec for Nearly three decades. confirmed 33 or under in season 4

he also says to "sam" more than once that he's spent the last decade running from the truth he learned at 18–he very well could be rounding down here and mean like 12-13 years but i am Choosing to Believe he meant that literally. we are now at youngest 28, it is the last episode of season 4.

now due to the way the show is structured and the fact that it is never really winter. ok maybe winter 1 time because i can see in my mind neal in his little wool coat and earmuffs but largely it is summer and we never have a christmas episode. anyway due to All That our only real anchor in the timeline is that the episode where diana is Grappling with her engagement to Christie happens immediately following june 24th 2011, when same-sex marriage was legalized in new york. and also that later that season in the commutation hearing they say that neal has served 2 years of his sentence. so the pilot was set in 2009 when it aired we are at one year/season. but as the series goes on the episodes and even seasons have increasingly shorter gaps between them, and by season 6 we haven't even finished our four years. by the end of season 4 i want to say we are three years into his sentence and he's 28. between the end of season 4 and when neal dies in season 6 there has got to be less than a year that passes. actually deadass why was neal so obsessed with the pink panther case ending his sentence early we are like months out king. i get the injustice the system is broken they'd keep him forever but to people outside his circle he must have looked sooo silly for that. but whatever. he is 29 when he dies and 30 when we see him again in paris, his roaring 20s of crime and incarceration over.

Anyway where the "neal is 35 or at least claims to be much older than this timeline would say he is" probably came from in-universe is that the adler scandal takes place SEVEN years before s2 when peter confronts neal about it. 2003?????? guys the thing we have to understand, to embrace, about neal's personal timeline is that i do not think anyone in that writers room was really grasping how much they had neal do in so short a time. 2003 he is like 19 guys. maybe by the time peter says it was 7 years ago it was 2011 ? and the adler thing was 2004? but no that couldn't work because it's mid 2011 like a year later in s3. so basically neal walks out of st louis and has a magical girl transformation through which he immediately becomes a great conman and criminal. and he meets mozzie basically straight away. he should still be in like calculus and ap lit at this juncture. and then they go right into the adler con ??? and neal is obviously lying through his teeth to everyone saying he is at least 21 but probably more along the lines of 23. and while most of his aliases are eventually found out by peter if no one else, no one ever goes "wait IS HE a teenager?" no one is guessing this.

so we spend a couple months fucking around and fucking UP with adler, kate probably doesn't know how old we actually are, this relationship cannot actually last very long at all because we are truly on a time crunch right now. we have less than three years for neals entire criminal career before he goes to jail. i know i said on the bullet list he went to jail early 2006 he has got to have been arrested like summer 2005 at the latest to be tried and sentenced by then and i feel like even that might be tight because he was suspected of so many other things they wanted to get evidence for. but how is neal teaching kate to be a criminal less than a year into his own career. i think neal must have been a hardcore improv kid for this to work honestly. i bet he competed. so our golden days of mozzie neal and kate against the world lasts maybe a year at best before neal and kate fight and she leaves and he spends months trying to get her back and get her attention and commits a truly breathtaking amount of crimes in this time.

also i'm skipping through forging bonds right now trying to flesh out this timeline and it was incredibly shady of peter and co to see that kate is doing so much to stay hidden from her ex boyfriend and then to reveal her to neal in order to catch him. like that was fucked up they didn't know neal yet he hadn't been suspected of violent crimes but they didn't know why kate was working so hard to escape him. like it worked out ok (arguably, but that could be a different post) but they had no reason to trust neal not to hurt her like this. she could have been running from an abusive situation he's known to be a talented criminal with no fears about escalating his crimes he could have killed her. one thing about the fbi is that they never once care about kate's safety and it does indeed get her killed one day.

in conclusion neal is known as one of the best forgers in the world when he is arrested in 2005 at age 21 maybe 2 years into his criminal career. here i am 21 what have i accomplished

[kentray]

Ted Lasso S3 predictions

My predictions before the show is aired. Some have been influenced by SPOILERS (but not too much) so that's a warning.

Ted goes back to Kansas to raise his son. Maybe one reason Jason says the story they have to tell is done, is because there might be an epilogue “a few years later”? Because you can't write more to a story if you jump ahead years and people are apart. A rom com type moment? on the top of the Empire State Building?

Rebecca comes into her own as an owner, falling in love with the game, her boys & herself. She lets go of her hatred of Rupert. Maybe apologizes to the team for what she did in S1? She softens & starts to have feelings for Ted (& vice versa).

If they develop feelings in the last episode or two, maybe a kiss and/or an airport scene? But it’s not yet their time. Ted needs to be with his son. Rebecca is NOT a Kansas girl. So therefore, a reunion via an epilogue.

Roy & Keeley endgame. Funnily enough, a break-up could speed things up in terms of their decisions: whether to marry, children, etc. It’s a short-cut to determine “forever”. They both deal with their insecurities & “save” each other.

Roy deals with whatever trauma he’s been holding in. I want this to be brought on by Keeley but I think some is let out in Ep2 with the team? Maybe starts an academy with Rebecca for Richmond. Boys & girls training together; a focus on a well-rounded upbringing.

Keeley continues to run her own company. She faces imposter syndrome, maybe sabotage by someone (Rupert), maybe things fall to pieces & Roy’s right there to help. We get her backstory, finally. Also, Keeley might get to a point where she needs a client & West Ham might be there. She’ll have to face those decisions & maybe a fallout with Rebecca for a time.

One reason I’ve felt Rupert is doing illegal things is 1) the show’s indictment on billionaires 2) I think Higgins & Keeley will discover things about him that ultimately saves and protects Rebecca (re:Sam) & her ownership, which is why I think Keeley may end up willingly or unwillingly working for Rupert (as per the hint in S2). Maybe that Rupert cooked the books OR maybe phone hacking as that was a big thing with Rupert Murdoch’s tabloids in England years ago.

I think Beard will stay in England & coach. Hopefully, he’ll be able to have a healthier relationship. Perhaps a new character will be introduced near the end? Funny thing is I don’t hate Jane. I think she loves Beard but she needs help.

Nate is eventually forgiven. I have no clue if they’ll deal with the repercussions of what he did to Keeley to my satisfaction. He’ll return to Richmond, maybe as an assistant coach. There will be forgiveness but at a cost. I don’t think others can forgive as easily as Ted.

Sam will be an eventual captain whether it’s Richmond or somewhere else. Roy’s been guiding him. Maybe the Nigerian national team? He will find that Richmond is his home. Maybe meet someone? (Forgot that I think he’ll face bigger repercussions, for his Dubai protest and Rupert & Dick Cole will be out to get him with potential racial overtones. Edwin Akufo is also after him.)

Jamie will make the English National team. He’ll repair his relationship with his mother & come to terms with his abuse. He’ll become the team’s biggest cheerleader, as well as biggest supporter of Roy & Keeley as a couple.

Colin comes out which is a big decision. The team is supportive. My craziest theory is that Isaac is his partner but he chooses not to come out. It’s a risk he’s not willing to take. There’s been some hints along the way… could just be best friends but it would be interesting.

Trent writes the book an in-depth sports book about the team’s journey.

[bookgeekgrrl]

My media this week (28 Apr - 4 May 2024)

📚 STUFF I READ 📚

😍 Bound by Contract (BootsnBlossoms & Kryptaria) - 135K, 00Q00 - pt 2 of The Marketplace AU with Bond & Q figuring out how their relationship works for them and how Alec fits all while doing semi-canonical spy shit. Such a huge fan of this series.

😍 Out of the Dead Lands (orphan_account) - "Someone is building machines that look and act like people. Meanwhile, the Winter Soldier tries to be Bucky Barnes." - 62K, stucky, very angsty with a happy ending, robots, identity porn (of a sort) - SO GOOD! (thank you, unknown author, for orphaning your work instead of deleting it.)

💖💖 +207K of shorter fic so shout out to these I really loved 💖💖

February (xoxobuckybarnes) - MCU: stucky, 5K - Steve and Bucky celebrate Valentine's Day in Wakanda

if the bad times are coming let 'em come (suzukiblu) - MCU: shrinkyclinks, 9K - accidental interdimensional swap puts still recovering WS into 1940s with pre-serum Steve

Maybe Our Kind Don't Fit Round Here (Rainne) - MCU: shrunkyclunks, 5K - companion fic to above - 1940s pre-war Bucky with modern Steve

📺 STUFF I WATCHED 📺

Um, Actually - s1, e21-32

Royal Pains - s8, e1-8

Ghosts (US) - s3, e10

The Brokenwood Mysteries - s10, e1

D20: Fantasy High: Junior Year - "The Name" (s21, e17)

D20: Adventuring Party - "Five Years in the Making" (s16, e17)

Dead Boy Detectives - s1, e4-8

🎧 PODCASTS 🎧

⭐ Lost Notes - S1 Ep. 1: Louie Louie: The Strange Journey of the Dirtiest Song Never Written

Dinner’s on Me - Niecy Nash-Betts

Under the Influence - Ham on Wry: Sandwich Board Advertising

Under the Influence - Cars Are The Stars: Automobile Brands in Hollywood

⭐ Lost Notes - The True Story of ‘Tainted Love’

Worlds Beyond Number: Fireside - [One Shot] SPACE CRAM: Reasonable Hoop Dreams - "The Menlo County Summer League 3X3"

Pop Culture Happy Hour - Dead Boy Detectives

Homophilia - LOL LOL OMG LOL with Steve Yockey

WikiHole - Virginia (with Lauren Lapkus, Naomi Ekperigin and Mary Holland)

Switched on Pop - Best of 2024 so far: hip hop feuds, Hozier’s pop surprise and espresso shots

Pop Culture Happy Hour - Summer Guide

The Atlas Obscura Podcast - Old Cahawba

Wild Card - Jenny Slate turns fear inside out

It's Been a Minute - How Chicago's Black press shaped America

Consider This - Judi Dench reflects on a career built around Shakespeare

Shedunnit - The Murder on the Links

Vibe Check - Every Girl Has A Good Gay

⭐ 99% Invisible #580 - Mr Yuk

Today, Explained - One Flu Over The Cowcow’s Nest

The Atlas Obscura Podcast - Checking Into Hotel Imperial with Deborah Cohen

Pop Culture Happy Hour - The Idea Of You

Throughline - The 4th Amendment: Search and Seizure

⭐ If Books Could Kill - "Going Infinite": Michael Lewis Takes On Sam Bankman-Fried

⭐ You Are Good - My Own Private Idaho w. Cecil Baldwin

Dear Prudence - My Brother Is a Budding Alex Jones. Help!

⭐ Endless Thread - Episodes We Love: Doom Jelly

Pop Culture Happy Hour - The Fall Guy And What's Making Us Happy

Re: Dracula - May 3: Your Friend, Dracula

It's Been a Minute - An inside look at the campus protests; plus, Israel at Eurovision

Armchair Expert - Chris Pine

Re: Dracula - May 4: The Eve of St. George's Day

Today, Explained - The tourist tax

Welcome to Night Vale #247 - Rerun

🎶 MUSIC 🎶

The Who

Dua Lipa

Back to the Yacht

Endless R&B Throwbacks

Hozier

[onlyhereforangst]

Who fucked the fandom I'm confused? The person who wrote the article?

oh absolutely not, from what i can tell @shelbbswrites is a lovely person & writes about some of my favorite ships & i'd like her to keep writing so i can spiral about jiara in the near future.

as for who fucked the fandom, well. girl. the blog whose gif was linked, @/opponentsheir, is the one who knowingly, willfully fucked the fandom last summer.

it was circa mid-late May 2022 and here was the jiara tumblr fandom, struggling to get through the drought by the scraps of bts we'd scrounge up from filming. blurry ass photos that make you concerned for a tourist's ability to hold their water as they drink, random selfies that tell you next to nothing, and then the occasional "omg this is BIG how does this make sense how does it fit in but omg it's BIG" crumb.

times were rough, bts were tight, and the unsuspecting jiara tumblr fandom was hungry. unbeknownst to us in comes OH who decides. let's have some "fun" let's liven up the jiara fandom because it's clearly dead (false) and idk im bored besties let's play a hehe silly joke! at first, a few handpicked jiara blogs get random anonymous post submissions and each blog has like 2-3 different posts that are all supposed bts leaks. it's never-before-seen photos of what we can only presume are s3 bts. almost all of these blogs were in a jiara discord server together so the photos weren't shared because wtf who is trusting us with these clear leaks we don't want them to stop though. so we sit on these, we get excited, we spiral, all that fandom stuff that we had already. been. doing. but yeah here's a few more bts crumbs to have fun with. then a few weeks later when, to OH's surprise, the fandom hasn't reacted like she wanted, freaked out over her "leaks," hasn't posted them on every platform ever to give her the attention she feels she deserves, she decides oooh let's send more! this isn't sociopathic at all!! and then bam there's a second round of anonymous post submissions followed up by an anon ask sent to one of the blogs saying "you can post them, this is the last you'll get because i've reached my max photoshopping ability do not contact again" (also pardon but how tf are we supposed to contact you if you're anonymous).

ANYWAYS the leaks: we're talking blurry, random characters - sarah, pope, rose, jj and pope, kie, a random dude by a fire, and then jj having his beat-up face held by hands that look just like kie's hands.

and sure enough, we spiral! an actual face hold??? on our screens??? fuck yeah! cannot wait for s3!!! jokes on us we're getting so much more but yeah!!! we're theorizing we're writing whole ass fics we're speculating we've got a discord emoji we've got everything. a few hours later the leaks make it to jiara twt and THEY go wild too. i mean who tf wouldn't? you're starving for content and some mysterious source decides to drop you leaks. like yeah hindsight is 20:20 and who was going to potentially violate an NDA for this, but still.

fastforward several months and now OH is back because i guess she got desperate for attention again and feeling "important" or whatever. she goes on anon and says hey btw those leaks were fake ha ha isn't that funny, here's the photos i used linked here and here and omg isn't this just hilarious bestie such a good time man i love the jiara fandom being active again because god i was so BORED and man i just wanted more fics and edits and omg look it worked i mean i've done it before and i'd do it again (or some shit like that idk i dont have the wherewithal to go look it up and get it 100% correct but yeah, she admitted to doing it for funsies)

rightfully so, the fandom is fucking pissed. it isn't *fun* to get manipulated, it isn't *fun* to get manipulated into making new content???? that we don't get fucking paid to make???????? fuck you?????? you don't manipulate an entire group of people for SHITS AND GIGGLES that's literally sociopathic shit babe, go get help please. so yeah she fucked the entire fandom over Summer 2022 and did it because "i'm bored i want content" like fuck all the way off.

oh and side note: another anonymous poster tried to say oh i know who it is, but also i'm not going to tell you because you guys are clearly mad at her and i don't want you to take it out on her, i know her and it's ok she's ok. like i'm sorry. the fuck? don't insert yourself into this stupid sociopath's deranged manipulative plan. because guess what bitch, we've got detectives in this fandom and while OH never came off anon like the coward she is, the fandom was able to put it together & not only determine her tumblr but also her twt so when she tried a fucking round three several months later with "oh i found these on reddit but the post disappeared hehe" we all saw through that shit a mile away.

in a nutshell, @/opponentsheir fucked the fandom over with her manipulative bullshit & does not deserve a fucking drop of attention from anyone in this fandom.

[rappaccini]

big catchall yellowjackets s2 thoughts post

tldr: season 2 has a great takeoff, hits some turbulence, and ends in a a potentially disastrous crash landing. eps 1-8: soar in places but shaky in others. ep 9: thanks i hate it!

according to conventional season progression, season 1/act i is the act of establishment. s1 of yj was incredible on that front. we really sink our teeth into all the characters and the plotlines. great questions are teased.

s2 is the act of conflict. this is the one where we dive into what the story's about. i still think they did a great job on that front-- rational vs supernatural, with the girls' descent into cannibalism, into hunting each other, into embracing lottie's cult mindset and natalie's rebellion against it.

but then ep 9 kinda fucks it. the biggest offending elements are things that could work in the right context, but i don't think that was it.

i think the fandom went rancid on fan theories and are now descending into aggressive positivity/negativity infighting. glad i decided not to get involved. esp given how this ended

since nobody reads these, i'll say the truth: season 2 was by no means a bad season (though it certainly has a bad finale), but it was definitely weaker than s1. the show isn't off the rails, but it bit off more than it can chew, and now it’s choking. there are now massive cracks in the foundation. s3 is the do or die to fix this... and i don't think they will.

alright so yj went in one episode from my favorite show currently airing, that i tell everyone to watch and make a social event out of every week with my friends..... to a show that i will recommend to no one bc i don't want them to get let down as hard as i was. when s3 comes out i'll wait for all the episodes to air, read some spoilers and ask some friends what they think before deciding to get back into, and if it gets canned before that happens... honestly, i'd be fine with that.

positives

the first act of cannibalism was perfect.

shauna and lottie. loved watching shauna's paranoia melting into total deference. both of them lost a best friend they had major gay vibes with, who really kept their worst impulses in check. i always felt it would be... right, for them to link up and form a codependent bond as a result. hopefully this is the start of that. (not to mention that the shaman needs her butcher) i'm the only person who ships shottie. so be it.

misty and crystal's friendship

the individual arcs of nat, travis, shauna, taissa... until the end

fleshing out akilah and mari. they're now at the tier lottie and van were in s1.

the development of lottie's cult taking time to coalesce

the stillbirth of shauna's baby was handled great

callie becoming a much more well rounded character. thank god. for a show about teens, we can't neglect the one in the present.

jeff knowing all shauna's sins, telling himself he's fine with it, but then having to contend with them firsthand and faltering? excellent.

the girls all losing their grip on reality by ep 8.

shauna butchering javi. incredible scene. love the buildup and the gore aftermath. love her hiding her face as she does it.

card pull theory confirmed. seems an appropriate way to start the cannibal sacrifice ritual. lots of fun variations to keep it fresh-- (quarry falls off a cliff, quarry is beaten/stabbed to death, quarry gets away, quarry kills her hunter, quarry makes an alliance ahead of time with one of her hunters to kill someone else for her, subtly rigged card pull, obviously rigged card pull, the group killing the one girl who won't participate, 'fuck the card pull, let's kill the other team instead of one of our own')

cave theory confirmed. good. we need a separate place for the second group to go, and now we have it. but idk who the fuck would join the second clan after ben burned the cabin down.

the cabin burning down kills it. it burning is a good thing, an important step in the group being further encroached into the wild, just feels like it happened way too soon and bc of the wrong person. more later.

negatives

more on this later but... Poor Lottie. fuck off. she was the villain s1 set up until she suddenly got switched up between seasons.

walter why. dude's just a plot device to get shauna off for killing adam and give misty a love interest she doesn't need. to the fans who hate travis, why do that when walter's right here? he's the Real unnecessary annoying boyfriend character.

crystal's body vanishing went nowhere. i like that she dies in the way she does, don't like that it goes nowhere.

so cabin guy doesn’t matter I guess

so javi's friend went nowhere

so the man with no eyes went nowhere

sure, we need to keep mysteries for later, but there's 'saving a resolution for later' and there's 'just dropping a question after it's raised' -- that's what the show did. you have to answer some questions before you raise new ones.

so that scene where travis died.... wasn't filmed weirdly and filled with inconsistencies bc the writers were implying that lottie was lying. it was literally just inconsistent and weird. hate it!!!

the cops. what even..... and kevyn dies but pedostasche LIVED?????

i'm cool with adam's murder being investigated. i just don't think it should've happened this fast. it's been One Day. and the entire resolution happened so quickly. the writers just tied it off and threw it away.

in general the women’s plot lines lack momentum. they spin their wheels till they reunite at the compound, then have a clip show until it’s time to commit mass suicide for some reason.

jeff never actually confronting real shauna about her repressed feral side.

'we conveniently forgot things' ..... no. lottie did on acct of the electroshock. none of the others should have. this feels like the writers trying to justify the continuity errors and sudden reframing of lottie as Misunderstood Reluctant Prophet.

'travis never believed in lottie' except he did and we don't even see him lose faith. another inconsistency (no, this can't be 'nat not understanding travis' because dude, she's his best friend, lover and the most important person in his life.)

all of episode 9.

ben burning down the cabin. i think he'd do it, but he isn't the best arsonist for the job (more on that below)... also are we not doing 'two warring clans' anymore? because who the fuck would join ben's after he did this?

massive missed opportunity for nat and travis to like. talk. alone. about what happened with javi. there's no resolution with that.

nat doesn't even really have a moment where she breaks down over it. she just goes numb, then participates in javi's butchering as if she weren't trying to save him only hours ago, with no indication of a changed mindset.

lottie becoming fully passive. what a letdown. she went from the character with the most potential as of the end of s1 to a wad of wet tissue paper.

nat becoming the leader.... seems heavily implied she's the antler queen, not to mention all the promo has been screaming 'come find out who aq is tonight!' so it sure looks like it.... no this doesn't make sense. it's ooc for her to accept this role and lottie's influence. it just does not gel with what we've seen of her so far.

it 100% feels like the writers, after spelling out lottie as the leader of the wilderness cult in s1 (that slow build of her embracing her delusions, attributing it to divine powers, seizing control of the girls as jackie loses power for good, starting the sacrificing, "who the fuck is lottie matthews" being a question meant to make us afraid), decided they wanted a Big Twist and decided to cram it in here to surprise Reddit. more on this later.

the only way i can see this working is 'each season, we get a new queen. s1 was jackie, s2 was lottie, s3 will be nat, s4(/5 if they get that far) will be tai/shauna. and each season shows each queen's affect on the group, how her power wanes, and how she's deposed and replaced.'

HOWEVER: nat accepting leadership FROM lottie? no.

and what the hell was all that heavy foreshadowing that Only Lottie would be it.

the pacing of the adult plot felt so off and i couldn't even tell if they were hunting lottie or shauna by the time the hunt got started. the resolution of the adam plot was so sloppy. no resolution for anything with taissa. van sure was There. did lottie poison all her followers or not.

nat's death. i'm cool with nat dying in s2. yellowjackets is shauna's story before anyone else's-- she's our protagonist. nat was (WAS... i guess) the one voice of reason, and responsible for the girls' survival, and lottie the voice that guides the girls into self destruction. if lottie's way of thinking is going to overcome the women in the present, that means nat can't counteract it. therefore, nat must die, and s2/s4 (the Season of Conflict or the Season of Emotional Lows) are the right times. s2 is better bc it inspires the characters to get more active earlier in the story.

but dude. not like THAT????

i still don't know if nat bought lottie's story about travis or not. i still don't know if nat started to truebelieve the cult shit. i still can't tell if nat was in on killing lottie or decided to help hunt shauna. she just... goes with no closure on any of those questions

i'm cool with her sacrificing herself for lisa. good parallel to failing to save javi.

but 'i dove in front of lisa to save her from.... misty quigley, who is smaller than me, who is running at her very slowly with a tiny needle that she jabs through my many many layers of thick clothing, and it contains a poison that kills me instantly' ....... is so dumb.

making it all about ~misty losing her bestie~ ......... nat never even referred to misty as her bestie. the filming doesn't seem to make it seem like misty's overselling it. the show seems to genuinely think in that moment that they're best friends.

oh my god that was for the fandom wasn't it.

nat's dying hallucination. what was that. 'i was dead the whole time so i should accept my death now' what. also why does she see lottie in her vision and not travis?

the finale left me full of doubt abt the future of the show. now i don’t trust the writers to do a good job anymore. bad place to be in.

the cracks:

1. inconsistent characterization

example: akilah. her being played by a totally different actress doesn't count. that couldn't be helped. i'm talking about how akilah goes from being a true believer of lottie's to 'i never bought into it, i'm just riding the fence' without a moment of acknowledgment that her faith faded... and then it doesn't even go anywhere bc she instantly follows lottie's lead and swears fealty to nat

example: shauna. she has a special bond with javi that totally evaporates in s2. it's fine if it breaks down, you just need to acknowledge in-show that it did. have javi approach shauna, probably during her labor, and be rejected.

big example: nat. why the hell would she agree to stay in the cabin and become the girls' leader. she was never particularly close to them, they just tried to murder her, she doesn't trust lottie's bs and she isn't the leader type. it just feels like the writers wanted a twist.

BIG example: lottie matthews. see below.

2. pacing and timeline confusion. you mean the adult plot all happened one week away from s1? dude. tell us immediately, not in episode six. do you know how many gripes about taissa being a senator who never goes to senate and abandoned sammy at school for days we could have avoided.

not to mention ep 9 switching from night to day to night in MINUTES.

the adults conveniently forgetting things about their time in the woods... oh, it's so the writers can retcon the hell out of it and claim 'unreliable narrator', I see

the drag of the adult timeline

in the past, the slowburn was the right move. shauna's labor and the first hunt arrived at the exact right times. but the characters just kind of ebb and flow through the season-- nat'll be super important for three episodes, then sit in the background for three, then she pops up again. that kind of shit. like, javi literally sat in the corner for shauna's birth. dude was Not There. what the hell. no one comments on ben being missing in ep 8 or 9

ben. his hallucinations were great, but did we really need four of them?

3. redshirts. i get that covid made this necessary in s1, but in s2 we're starting to have a problem. crystal was fantastic, but gen and melissa don't have distinct personalities. they don't have interests or hobbies. they just say lines that could be interchangeable. they're like the mari and akilah of s2, except at least we could tell mari and akilah's personalities apart.

there are three yellowjacket girls who have yet to be cast. hopefully they have personalities and the writers put real effort into building them and genlissa out.

otherwise when they're all eaten, it won't feel important.

crystal proves it's possible to do. so do it. fast.

4. fandom

the cast and writers are way too online. they should not be on reddit, reading fan theories or sharing their favorites in public. they should not be in these spaces.

it feels like misty's now the fandom interpretation of her (but straight), that taivan were softened to appeal to their popularity, that lottie especially was retconned into a well intentioned character and nat into the leader of the cult as a way to Stay Ahead Of The Fans.

even the alanis morrisette cover of the theme that keep playing feel like the writers are like 'look at us! we're a famous show now!'

at this rate they’ll make akilah pit girl

...'no one guessed the ending yet!' say the cast and writers............ yeah. because no one imagined how bad of an idea it would be.

the consequences:

1. if we can't rely on the characters to be consistent between seasons, how can we get excited about watching them grow, if they might be totally different people or jump out of their projected arcs for shock value/bigger appeal?

2. how can we care about the adult timeline at this point. and as for the teens, s3's gotta cover spring-summer-fall. if they do a 3-ep act for each like they did this season, that's a lot of time to cover.

3. if genlissa still have no distinguishing characteristics, and the redshirts follow in their footsteps, how will we care when they're the bulk of who's killed off next season and in s4? (bc gen and mari should be getting a ticket to s4 to keep pit girl intrigue alive)

4. if the cast and writers are consumed with giving the people what they want (shocking twists! surprise, lottie isn't the ringleader even though s1 very carefully built up to revealing her as it. she's just misunderstood!) how are they going to stay faithful to what the story needs. can we even trust their instincts anymore?

as for the characters, best execution to worst:

the greats—

SHAUNA

the only arc that feels great start to end. as befits the protagonist.

her issues with her daughter are fully fleshed out and so visceral. everything with the pregnancy is great.

trying to cling to jackie after her death? loved that.

being the one who starts the cannibalism? loved that.

formally becoming the butcher? loved that

initially being a skeptic/fearful of lottie, and succumbing to blind worship after her stillbirth trauma? makes sense. dynamic and fascinating. her rejecting the hunt in the present when she joined in the past? good shit.

as much as i HATE antler queen nat, shauna being petty that she didn't get picked as lottie's favorite felt right.

and modern shauna trying to cling to a normal that's quickly dissolving? Good Shit

looping jeff and callie in here: also great. callie learning more about her fucked up family, jeff being stagnant but still allowed to display hidden depths as we learn he does genuinely Know All Of It, the awakening of violence in callie as shauna's traumas are passed on to her... and the way lottie latches onto that and gets creepy about it? yes please.

MARI

love mari being a hater, and keeping up her role as cook

love mari descending into fanaticism.

love mari breaking down when no one can see her. alexa barajas killed this role

mari is a social opportunist. misty is an antisocial one. mari understands how group hierarchy works and how to climb it, but has no skills to offer. misty doesn't, but has the skills. looking forward to see how this plays out going forward.

mari is the front runner for pit girl and it should still be her— two contenders are no names, one is gen, who has no personality or arc yet. mari finally having her opportunism catch up to her and her blind faith used against her is a fitting end.

AKILAH

love expanding her character and giving her more scenes with tai.

love her backstory about her sister and nephew, rachel, and wanting to keep studying.

love the nugget subplot

love her introducing a third party of 'idk if this cult shit is real, but i like having friends'. wish we got more insight into how she arrived at this conclusion since in s1 she is very much a lottie minion

feels like she’s coming to represent compromise: fine, ill become a cannibal, but im keeping my hope of escape alive. fine, i’ll go to woods church but just for the people. fine, i'll hunt nat but please can we not let javi drown.

but then it went nowhere.

idk man it felt like they were preparing akilah for a defection to nat's faction but then all that never happens

CRYSTAL

proof the writers can make the extras distinct and vibrant while still serving an efficient story purpose.

she was a minor character for five episodes but she's such a standout. great performance. great use of her. great writing

she came in, gave misty the origin of her theatre hobby and her ability to manipulate, and peaced out. a side char at her best.

JAVI

represents innocence. he had to die to mark the start of the ruthlessness. fantastic execution.

love his contribution of the cave mystery

love his connection to nat and travis

just don't love how he does nothing for all of ep 6

mixed bag—

TRAVIS

my boy. loved his arc. until ep 9.

it was important for him to try the lottiecult out, so that way when he disowns it it feels more dynamic.

except then he never... disowns it.

so what's all nat's 'travis never believed that' stuff. is the disowning still coming, or did the writers Kinda Forget.

mvp of episode 8

then in ep 9 he just... accepts that he has to eat his brother and stay with the girls who murdered them. bare minimum i was hoping for him to take off with ben (and nat) as a step towards being a more active character.

now he's right back to sitting in a corner.

my hot take is that the fandom hates him in the exact same way fandoms of mostly-male ensembles hate the one underwritten female character who's there to be a love interest. they demonize her every action, refuse to examine her situation with empathy, and insist her relationship with the fan fave bad boy is toxic/she's unworthy of him, so they can mentally break him up with her and ship him with the same-sex chars he has interesting dynamics with, but in a watered-down shallowed-out fluffed-up version of the relationship they originally had.

also, i find the idea that shauna and tai (two women who are toxic to their partners)'s insistence that natravis were toxic is rooted in them being angry that travis and nat resisted the cult groupthink together; we're not the bad ones, they are. i'm still disappointed that didn't happen.

wish he got to develop a connection with coach a la tai and akilah’s bond. coulda been great.

anyway.

NATALIE

becoming increasingly isolated as she clings to rationality while the others descend into woods woo woo madness? loved that.

her friendship with ben isolating her even more from these girls who never liked her in the first place? loved that.

a complex arc with travis regarding javi? loved that.

her bond with lisa is sweet. her attempts to deprogram her? loved that.

the entire first hunt was fantastic.

what was that ending. what the fuck.

wilderness cult queen nat doesn't make sense. see the above reasons why. feels like this is just here to shock us. and i'm shocked... that it's this stupid. her being A Queen i'm fine with-- just not the one leading the exact cult that JUST TRIED TO MURDER HER and DROWNED HER BOYFRIEND'S BROTHER.

i'm cool with nat being singled out as a leader by lottie.

but the only way it'd work for me is if nat rejects the crown, runs for the woods, and sticks with ben. then you can have future drama where lottie's cult descends further into madness, and nat blames herself for not staying and taking control. and a queen-in-exile vibe that makes her especially alluring to the girls as an alternative to lottie

hopefully we'll get that if she's deposed. if. if.

again, her dying? i'm cool with it. like that? hell no.

so travis's extremely suspicious death was a Convenient Accident and poor lottie is innocent in all of it? fuuuuck off.

so lottie stalking natalie long enough to know exactly when she was in danger of suicide is just... not mentioned? fuck off.

(so the bank lady being stalked by lottie.... goes nowhere? fuck off)

so nat really did drink the kool aid, fall under lottie's spell, and get killed for it while blaming herself and insisting she's been dead since the crash. fuck offffff.

uhhh—

MISTY

watching her learn that through acting she can manipulate the girls was great.

revealing her opportunism during the javi hunt and springing into action to assert 'lottie's will' over the others bc it raises her status? great.

loved her toxic theater girl psychosexual friendship with crystal. the way it ends felt earned and natural... mostly.

though honestly i think she needed to push her off that cliff. i worry that the writers are softening her up to appeal to the misty fandom

do the writers and actors know if misty is misunderstood or coldblooded? i can't tell anymore.

100% think the framing of nat's death is for the mistynat stans

walter why

TAI

past tai starting out a skeptic and succumbing to belief because of the baby's loss? love it.

teen tai leading the hunt is great.

her relationship with van is great but i get the vibe that it was softened to appeal to the shippers. the big conflict between them re lottie never really erupted.

so zero answers about what's going on with her split personality in the present huh

biggest victim of the bad timing in the present.

sammy is still waiting for someone to pick him up from school

VAN

her being alive in the present is a big ? to me. feels like a massive oversight that she wasn't mentioned in s1. reeks of 'we didn't plan this'

still kinda wish she weren’t in the present

the business was in character though, and her seemingly being more attracted to tai's shadow self than tai herself? intriguing. can we make that actually go somewhere though? with payoff?

but her getting increasingly vicious in the past was great.

however i feel like she was held back specifically to make taivan soft moments for the fans. van's big struggle needs to be tai or lottie, and it seems like they deliberately avoided making her choose.

i get the vibe that mari's crazy devotion was meant to be van's, but they swapped it bc taivan softness trumped all

van having cancer never has any payoff. at this point i kinda hope it gets her. or that she died in the woods

GENLISSA

they were there

they feel like one hive mind. like the poor man's mari-akilah

their designs are great but idk a thing about them

the tiny details: melissa participates in the hunt while gen stays to pin down travis, melissa reads magazines over and over, the girls seem to be genuine friends, the girls prepare natalie for her hunt instead of lottie, yet are wilderness true believers... all that feels like it's incidental, after ep 9.

THE EXTRAS

didn't do anything mindmeltingly bad.

but dude you have to fast track their characterization.

gen and mari shouldn't die until s4 so the pitgirl mystery is still somewhat intact, meaning that we've gotta frontload the deaths with redshirts. gonna be tough to care if we've never even heard them speak.

we've seen the writers flesh out crystal. we know they can do it.... so do it, dude.

please god no—

BEN

said elsewhere: the pacing of his arc is So Off.

starting the season with him mapping the valley, and ending with him using that knowledge to find the tree cave? great payoff.

him sinking into depression after watching the girls become cannibals was great. took too long to wake up.

benching himself during the birth was infuriating. dude, you are the only adult, you are the health teacher, you were these girls' coach for months if not years before the crash. get the fuck up and help this teenager through her labor.

and burning down the cabin... no. it doesn't seem like his act to make.

at this point i can't imagine anyone joining his faction, so why is he even still alive

also how is this fucker gonna survive. he can't hunt. he can't walk. he's the wilderness's most wanted. he has no one who'll do that for him.

LOTTIE

the retconning of this character from all-but-confirmed leader of the group to 'nope it's nat!', from bloodthirsty wannabe queen bee finding her confidence in the wild and finally unleashing it to 'oh dear i didn't mean for you girls to take it this far'.... i think this killed the show. or at least gave it a serious stab wound that's going to kill it unless they do a Lot of heavy lifting in s3 to repair it, which is unlikely.

Poor Lottie is one of the big fandom consensuses. oh don't we feel so sorry for assuming she's the big bad when she was nothing but a victim all along! she didn't do anything, she was gaslit and manipulated! ~all she wants to do is help~

and now the writers seem to be backing it, with how s2 shakes out.

in s1 lottie is something of a foil to jackie: both are affluent girls, only children. but lottie's family ignores her while jackie's spoils her. lottie is medicated and hidden away, jackie is indulged everything. lottie and jackie both have a capacity for being deeply mean-spirited, but jackie has the confidence to be the queen bee, while lottie hovers in the background. as jackie falls apart in the woods, lottie starts to feel freer. she starts talking back and snapping at the girls more, she (unhealthily) embraces her 'visions' (delusions) thanks to laura lee as jackie's friendship with shauna evaporates, she finds some kind of faith in a new order as jackie loses hers in the old one. the loss of the laura lee-lottie, shauna-jackie gay as hell friendships marks disaster and a transfer in the girls' social order.

they are very much meant to be compared to each other. and lottie is to be understood as a tragic character sinking deeper into delusions because she just wants to feel special for the first time.

yes, lottie is not evil. she's anxious, needs reassurance from others, and initially very hesitant about her hallucintions/visions.

BUT.

she is not a victim. she is not the manipulated, misunderstood sweet girl who only has good intentions.

... literally the first thing lottie does when she's in control of the girls is pick up a weapon, whip them into a rabid frenzy and lead them to humiliate jackie (aka the highest-ranked girl, who lottie is now challenging for leadership), take her sexual partner, and when said partner rejects them, they assault, hunt and try to sacrifice him.

yes, she's under the influence of shroomberry booze and sad about laura lee dying... but dude. just imagine if charlotte were charlie and travis were tanya. would you really be saying 'oh charlie didn't mean to get half a dozen boys to sexually assault tanya, strip her naked, chase her, tie her down and try to murder her when she rejected him, he was just drunk and sad'

all the shrooms did was remove everyone's inhibitions: natalie becomes happier, giggly, and acts from her heart to patch things up with travis. ben comes out and tells misty to fuck off. misty tries to fuck ben. shauna lashes out at jackie. van lets go of her scar shame..... and lottie does That.

yes, the other girls do That too. akilah, mari, van, taissa, shauna, probably-melissa-but-who-knows-they-never-bring-it-up all participate. but lottie is the one who starts it, by taking them to the cabin with the stated intent of taking something away from jackie forcibly, by starting the attack on jackie and the assault on travis, by telling the girls to think of him as a stag and leading the chase, by handing shauna a knife and telling her to kill him when they have him tied down.

when lottie has no inhibitions, she seeks power over her peers, and uses manipulation and violence to get and keep it.

then on day two lottie shows no signs of remorse, only slight embarrassment (it reads as 'sulky teenager upset that she got caught doing something bad', not 'oh god what have i done'), and goes right into sacrificing a bear heart and 'shed the blood, my beautiful friends. and let the darkness set us free'

where the fuck did that girl go.

at this rate there better be some entity at play, bc that's the only way to excuse lottie's 180 back to passivity.

if they wanted a story about lottie being a tragic prophet figure, having her well-meant words and intentions twisted despite only wanting to help, then you probably should make sure her intentions are actually well-meant. because of doomcoming, the tone was set to expect the worst. and then it was walked back with no on-screen change of heart.

if you'd done that, if lottie had addressed doomcoming and mentioned that she's regretful and doesn't want things to go down that road again, then lottie's arc would be about trying to control her worse impulses (her mean streak, her hunger for validation, her desire to punish the girls who threaten her power, her interest in possessing travis, her bloodlust, her ability to use her empathy for the other girls to manipulate them into becoming their worst selves, her belief that she's Chosen, the woods Picked Her, don't you see, she's not crazy, she's Special) as the girls keep persuading her to give into them, before ultimately succumbing to the role of tragic villain

just because lottie wants to help doesn't mean she can, and she won't accept it, because in the wilderness, the girls listen to her and validate her illness instead of ignoring her and shutting it up like her parents did.

the group wants lottie's validation and easy answers, they need nat's realism and heart.

that would mirror her adult plotline well-- lottie is trying, again, to have her cake and eat it too. she wants to be important, and loved, and eco-friendly, and a healer, but she also wants that rolex, and that specific smoothie (and if she doesn't get it she'll litter that eco-friendly cup and straw without a second thought), and total control over her followers and all their money and attention.

the (stalking and) kidnapping of nat/convergence of the yellowjackets just sets her back down that path towards cannibal shamanhood.

sure, give her electroshock to repress the memories. i like that angle. but the point needs to be that because of (murdering travis, she needs to have killed travis, come on) nat's presence setting her off, all those electroshock-repressed memories are returning....

just like in the past, lottie is faced with the same question: the girl you are deep down has always been repressed, and now she's starting to emerge, and it feels so good to finally become yourself... but what if that girl is dangerous? what if she's malicious?

lottie having doubts about her visions is important. but her fully succumbing to 'oh dear me i hate that everyone's taking my words and twisting them' just makes her a passive character.

poor lottie might be more likable, but she's so much less compelling. i hate this regression with all my heart. the idea of future episodes with passive, woe is me lottie makes me not want to watch them.

the crowning jewel of this is when she says 'nah i'm not in charge, nat is'

girl. are you kidding me.

top of my head season doctoring:

adult timeline. far more general bc it seems much harder to tie up.

immediately establish in the adult timeline how long it's been since s1.

no walter.

pair misty up with kevyn instead. misty reports nat missing, he takes it personally, they go on a buddy cop adventure where kevyn learns a lot about the wilderness years. and misty tries, again, to make a friend. this woman is a citizen detective, you know she'd love to hang out with a real one and play with his badge.

as for kevyn, i get the sense that his goth to cop pipeline was triggered by the crash. watching his best friend/first love vanish, and then the rescue efforts totally fail to find her and then give up, then learning if they'd just kept looking they could have saved her sooner? probably a pretty formative experience.

*scribbles walter out of the poster, draws kevyn in his place* fixed it!

no notes on shauna's arc, just on the pacing: wait a few episodes before the cops get on her tail. if it's only been a few days, no way are they gonna figure it out that fast. spend the first third of the season dealing with the aftermath, the second third with the cops appearing in their lives, the final third with them on the ropes. with kevyn partnered with misty, just have her and callie deal with creepercop alone.

taissa's series arc seems to be about control. her continuing to spiral as the other emerges is good. her fleeing to seek out van... honestly idk about that-- i don't like how van is just conveniently in society but never mentioned in s1, even though she clearly had relationships with the girls for a while afterwards. i'd find it more interesting if the other can find van but taissa can't. and have the other creep around the compound too.

in general, more emotional impact regarding simone and sammy? tai just ditches them. just give her some kind of closure for simone and sammy by the end?

give van more of a consistent arc-- leaping right back into lottie's shit like an addict into an old fix bc she wants her cancer cured

yes, keep lottie's initial intentions ambiguous. but slowly reveal her manipulative side over the season, and make the mask-off moment one where we see doomcoming lottie's return. think of how creepy she is with callie. more of that.

give nat closure abt travis. what was she right about? how did he die?

how he died: lottie killed him to get the gang back together. she misses her delusions and her specialness, and knew if she killed travis, she'd destabilize nat and make the others come running.

let nat remain skeptical of lottie to the end, instead of swinging back and forth between 'i don't trust you' and kool aid chugging

... did lottie poison her entire cult or not? i'm in favor of the mass suicide option. she doesn't need her placeholder cult anymore, now that she has the original one back. time to clean house and give It such a big sacrifice that It can never ignore them again.

is tai now on team cult? tbh i'd prefer if she were. more intriguing, and a bigger threat for s2 if shauna, who's just broken out of the groupthink, might find herself alone against the others. killing biscuit got her that senate seat and a reunion with van, what more could she gain?

(misty could go either way, i think. true opportunist.)

i'm 50/50 on kevyn dying. if he does, absolutely not by drinking an obviously suspicious drink given to him by a cult member. have him enter the line of fire during the hunt or something.

if he doesn't, he could be a good ally for the women down the line, so in my head i'd keep him.

regardless at least let him talk to nat. they mean a lot to each other. fuckin wild that he never realizes she's on the compound, or gets to ask her abt her involvement in the adam martin case.

pedostache dies no matter what. let callie shed blood— let the violence of the mother visit itself upon the daughter. let callie kill this gross fuckwad when he tracks shauna to the compound.

the yellowjackets frame lottie for adam's murder. kevyn can be a key part in this— he’s protective of nat and enough seeds could be planted re lottie being dangerous and wanting to lure the women back into her influence— he could swing the investigation in a way that implicates her and protects shauna.

but instead of lottie being back in the asylum, send her on the run. no repetitive return to the ward, more opportunities for conflict in s3.

if nat's gotta die, make the scenario less stupid. connect it more to lottie, her antagonist, instead of misty and a little needle. and let her see travis in her dying moments. it's literally all she wants.

anyway with nat dead, now the women are alone with lottie, who is on the loose, fascinated by callie, and pissed at them. they have to be the ones to resist her influence now without anyone coming to help them.

specifically, shauna's potentially all on her own, with tai and van on team wilderness and misty a wildcard, as winter in the adult timeline sets in.

teen timeline:

bring back the flashbacks showing the chars’ backstories. we kind of have ben this season. show us travis, akilah, mari, crystal, van.

even kevyn and jeff could be a good insight into the day everyone realized the plane went missing. what was that like for the friends the girls left behind?

give gen and melissa some distinguishing characteristics. like, make them a couple instead of friends. give them distinct hobbies and skillsets. build on the crumbs of melissa as a mini-van who does manual work, gen as a mini-shauna who does camp work. sow some tension: melissa is pro-wilderness cult (acknowledge that she was involved in lottie's doomcoming hazing), but gen isn't. or the reverse. or have them flip positions. give them something.

begin the season with lottie walking back her behavior because of doomcoming guilt... but have her give in now and then to those impulses; she's angry that not everyone believes her/calls her crazy like her parents did.... then she gets worried about what the consequences of that anger are as she realizes the girls aren't listening to her requests to settle down, and prefer her when she's at her worst.

specifically, lottie is more antagonistic towards nat, and has to warm up to her throughout the season as she also loses confidence in her ability to lead.

when lottie participates in the hunt contest, she's the one who refuses the gun and gains some respect for nat in the aftermath

in ep 6, give javi a moment where he tries to comfort shauna and is rejected. closure on their former friendship.

in ep 6, ben gets off his ass and out of his hallucination and helps deliver the baby, but it still dies.

recontextualize ben's total alienation from the group and suicide attempt in 7 as the girls totally losing respect for him after the baby doesn't survive, and ben being guilty enough to try cliff diving.

lottie offering herself to shauna in 7 is great. keep that.

8 is great. keep it all.

as for 9....

i like lottie having an 'uh what the fuck' moment when she realizes what everyone did on her behalf.

have the girls acknowledge that ben's fucking missing? why does no one bring it up?

can ben find crystal's body? so we know how he's gonna survive the winter? closure??? please???

give a few girls-- akilah most of all, moments of hesitation.

i like natalie rejecting ben's offer to run away together. the guilt feels right. she Would feel obligated to stay.

this is where travis comes in. how the fuck does he decide to stay with these girls after they make him eat his brother's RAW HEART?

he should still eat it. important moment of teen girl peer pressure taken to its most terrifying extreme.

lottie announcing nat as Chosen By The Wilderness... it feels in character for lottie to think this (and want to pawn off responsibility after getting more and more uncertain about it), but out of character that nat would accept it.

how about this: lottie wants nat to get over her skepticism and get in line with the rest of the girls. surely this Sign from The Wilderness will do it. and because lottie is freaking out about how the girls keep doing crazy shit on her behalf, she wants someone else to take responsibility.

so she picks natalie. now you're in charge. you deal with it. your cross to bear. come see how hard it is to get these girls in line.

natalie rejects it. she runs outside, and travis follows her because...

nat and travis need time to talk about javi alone. travis needs to know what happened beyond 'the wilderness chose' and nat needs to let her worries out. let's hear travis's end of why he believed in the lottiecult: he wanted to fit in with the group, he was terrified of dying, of javi dying, and wanted an easy answer. but now he knows there aren't any.

might be a good time for that anti-suicide pact we know they make (bc what's gonna make you want to kill yourself more than being indirectly responsible for your boyfriend's little brother's death, or being forced to eat your little brother's raw heart by his killers) and for travis to reaffirm what he says in 208: tell nat she is a good person right when she needs it the most.

they run into ben, who's been stealing supplies and watching them. they decide to leave together-- travis is On Board right way, nat now has enough faith in herself to go.

nat and travis are so angry at the group for killing javi, for forcing travis to go along with it, for trying to pawn off responsibility on nat, that they set the fire.

it's part pragmatism (we need supplies and the gun, which they won't part with, so let's distract them while we get what we need), part rage and grief (we hate them for what they did and want revenge), part desperation (lets take out as many as we can because after we leave we will be hunted).

and it’s important for the team rational faction to be as morally gray as team supernatural. attempting a mass burning of their former friends and leaving them for dead feels both appropriate given their personalities and the situation, and drags them off the moral high ground.

lottie crowns the queen of her rival faction, thus legitimizing her power and making her a favorable alternative for her followers to desert her for, which some certainly will...

... but nat starts the war between the girl clans, and makes the cult's situation far more dire by destroying their shelter and supplies, thus driving them further into madness.

the conflict between them and their groups is a snake eating its tail.

(+ Why Don’t They Leave When The Snow Clears Up: one faction has accepted they’ll live in the woods forever, the other won’t abandon a one-legged member who can’t make the trek… and is committed to hunting down or converting the former group first.)

at this point, i'd have akilah and at least one redshirt spot them, follow, and ask to join. payoff for akilah's quiet disagreement with lottie, an opportunity for a new character to get some spotlight immediately in s3 a la crystal, purpose for nat as an alternative to lottie for the other girls, and the start of the two factions.

end on the girls watching the cabin burn down. specifically on lottie —who tried to reign in her worst instincts all season and stop the girls from going feral— deciding that trying to resist those impulses was a mistake. she chooses to completely give in to their (and her) worst desires. the wilderness punished her for doubting it and showing weakness, for giving up power and crowning a false queen. she won’t do that again.

...... ugh. i'm getting incoherent. i'll probably discuss this more somewhere else some other time.

[ambitionsource]

AMBITION Season 3 ♫ “Can You Dig It?” [ 3.07 ]

CREATED BY Esther (waterstribe) & Maggie (quincywillows) || Official Page || AO3

STAYIN’ ALIVE – After an unfortunate accident, the A class finds themselves working double time to fund their showdown performance. Charlie struggles to balance the past and the present, and Maya makes a desperate move. Farkle receives news that changes his life forever.

70 Minutes (33K words) || No content warnings apply.

[ ← The Comfort Zone ] [ S3 Synopsis ] [ Moment of Truth → ]

( Follow along with the music on Spotify here! )

EXT. AAA - AUDITORIUM - DAY

Music plays over the sound system, setting a comfortable and fun scene while most of the A class works together on the auditorium stage. The performers are working through showdown choreography or helping put the finishing touches on set pieces for the production, while the techies are split between those set pieces, the beginning of structures for their upcoming winter musical, and tweaking the lights. JEFF MONROE is up on the catwalk out of sight, NATE MARTINEZ perched on top of a scaffolding and passing him requested tools. DAVE WILLIAMS is balancing on a ladder against the scaffolding, helping hand things to Nate from below.

MAYA HART has taken over as dance captain, shouting commands at her classmates still running through steps. ZAY BABINEAUX watches from on top of the major set piece they’re building at center stage for the musical, unimpressed and maybe a bit envious. His injured left leg is now in a boot, wheelchair gone.

The conversation varies, from the impending showdown finals to college application deadlines. Everything is coming down the pipeline at record speed, right towards them, and they have to juggle it all at once. RILEY MATTHEWS glances around and asks where Jade is, which ISADORA DE LA CRUZ answers.

Isadora: She’s been locked up in the costume loft basically since last week. The deadline for her conservatory and apprenticeship programs is closing in, so she’s been working basically non-stop.

Maya: How does she not have enough samples already? Hasn’t she made everything we’ve ever worn in this school for the last three years?

A fair question, but it doesn’t get addressed. They’re all distracted by a new song coming on shuffle, playing loudly over the speakers.

Song Cue ♫ ♪ “Boogie Wonderland” as performed by Earth, Wind & Fire || Instrumental

Although the track is an undeniable bop, the assembled A class seniors don’t seem impressed. They all quickly pipe up to complain, calling for someone to skip it.

Darby: Where’s Jeff? Jeff! Hit skip!

Jeff, from above: A little busy right now!

Maya: Well someone better go change it!

Haley: And risk getting killed by Lucas because we dared enter the booth? No thanks.

Maya: Fair point. Riley, go change it.

Riley, in the midst of rolling paint on a set piece, raises her free arm in a shrug. Also a little busy. Zay shakes his head.

Zay: What is wrong with all of you? None of you have taste. Disco is classic. You should respect the excellence that came before you.

Maya: Sorry I’m not still living in the 20th century. It’s 2020, Zayby. Disco is dead.

Zay: You absolutely disgust me. If my foot wasn’t booted --

NIGEL CHEY finally relents amidst all their complaints, claiming he’ll risk his life to go change it if it will get them all to shut up.

For now, though, the boogie wonderland is ongoing. FARKLE MINKUS uses the opportunity to pick on Isadora, loosely disco grooving around her and trying to poke her into joining him. She laughs but tells him to cut it out, and when he gets too close, she playfully shoves him away.

Only she’s stronger than she looks, and he’s a beanpole, so she overshoots and pushes him a bit too hard. Farkle goes stumbling backwards -- right into the ladder that’s holding up Dave. Isadora yanks Farkle back just as the ladder falls out from under Dave, just missing Nigel, clattering to the stage next to them and creating a dent.

Dance! Boogie wonderland!

A bunch of the seniors cry out, scrambling away, now watching in horror as Dave dangles from the side of the scaffolding a dozen or so feet above the ground. He almost loses his grip, seconds from falling, and Maya screams. She backs away frantically and knocks into a paint can, spilling metallic silver paint all over their perfectly crisp black stage and splattering CLARISSA CRUZ, DARBY WINTERS, and SARAH CARLSON.

Ah! Ah! Dance!

Jeff and a couple of performers start shouting directives at Dave, trying to save him from a nasty fall off the scaffolding. Nate tries to pull him up, but it’s no use -- Dave is the giant after all, and Nate’s guns aren’t that swoll. Riley hides behind her hands, peeking through her fingers and unable to look away.

Riley: Oh my God, he’s gonna die.

Isadora takes over directing from below, instructing Dave to change trajectory and aim for the curtains to orient himself. Jeff objects to that, citing the integrity of the curtain pulley system, but he’s shouted down by the performers jumping on Isadora’s suggestion. Suddenly, everyone is yelling at Dave to go for the curtains, so that’s what he does.

Jeff: No, don’t -- !

All… the… love in the world can’t be gone!

Dave manages to latch onto the main curtain -- but it’s all downhill from there. That curtain is about as useless as Nate, and the pulley system holding it upright can only sustain so much weight (curtains are a lot heavier than they look). So the moment Dave latches on, it buckles underneath him, and seconds later the whole thing comes down in a spectacular show of destruction.

The A class scatters to avoid it, ducking down and covering their heads. Clarissa pulls HALEY FISHER down behind a set piece with her for cover; Farkle yanks Isadora out of the way and shields her behind him. Zay screws his eyes shut and hides behind his knee, thankfully a safe distance away. Then the dust settles, stunned silence giving way to the continuing groovy sounds of Earth, Wind, & Fire.

Riley pokes her head out from behind the set piece she was painting first, eyeing the heap of curtains and rods on the dented stage floor. She swallows.

Riley: … Dave?

For a moment, nothing but tense silence… from above, Nate releases a gasp.

Nate: Holy shit, we’ve killed him.

Then Dave emerges, pushing some dense drapery off of him and pushing himself into a sitting position. He seems dazed, but otherwise uninjured.

Jeff: Oh, thank God.

Isadora: Dave… you good buddy?

Dave blinks, then offers a thumbs up. Everyone releases a sigh of relief… just as SHAWN HUNTER and HARPER BURGESS enter into the scene of chaos, having rushed in after hearing the commotion from down the hall. In the opposite wings, LUCAS JAMES FRIAR returns with DYLAN ORLANDO and ASHER GARCIA, all of whom stop dead in their tracks when they set their eyes on the disaster they’ve stumbled into. Asher’s jaw drops open; Dylan drops the toolbox he was carrying.

Whoopsie. Boogie wonderland…

From his perch atop the set piece, Zay breaks the silence, shaking his head.

Zay: Shoulda never dissed disco.

Cue title sequence.

INT. AAA - JACK’S OFFICE - DAY

JACK HUNTER is seated at his desk, working to maintain a neutral composure as HARRISON YANCY paces his office. He’s haughty and on offense, demanding to know what happened with the auditorium and grilling Jack for details. Of all the things he planned to tangle with at Adams, vandalism and destruction of school property was not at the top of the list.

Yancy: But, then, I suppose I should’ve anticipated such a turn of events. Considering you’ve struggled with reining in destruction before, and insisted so vehemently on keeping problematic entities in your student roll -- and now they’re student leadership, in fact!

Jack: He had nothing to do with this. Lucas wasn’t even in the auditorium when it happened --

Yancy: How convenient for him.

Jack: And it was an accident. No ill intent involved. It was an accident, and all of the damage is repairable. The curtains can be fixed and replaced, the dents in the stage can be filled, and the spilled paint can be removed or painted over in turn. I think we should be more concerned with the lucky reality that no one was hurt.

Yancy: [ ignoring that point ] The damage is repairable, yes, but it won’t be free. And I certainly won’t approve its reparation on the school’s dime.

Jack points out that such a decision isn’t his to make -- he’s still the principal of Adams. And that’s true enough, but as Yancy effortlessly counters, he remains under close watch. That’s the reason Yancy is present in the first place. Every decision Jack makes is under scrutiny, and a figurative nod of approval from him matters. Jack must be wise enough to realize that.

Jack, begrudgingly: So what, then?

Yancy: So, it seems to me that the A class will have to proffer the money to pay for the damages on their own.

Jack: That’s ridiculous. They’re students, not entrepreneurs. And they’re already scrambling to raise money for their showdown performance, not to mention ways to bolster their scholarship initiative since you voted to deny them funding at the board level.

Yancy: Then they must be experts at it. What’s one more money-making effort? At least it’s teaching them meaningful life skills -- budgeting, consequences, the value of a dollar. All very sensible lessons to learn… something you used to complain this institution lacked at the same time you were decrying the actions of students you now fruitlessly defend, if I recall correctly.

Well, you got him there, Yancy. Jack deflates, knowing there’s no logical path out of this. Yancy has him cornered, and the more he invites reminders about how he used to be or the ways he’s already fumbled, the graver his prospects grow. Yancy emphasizes this as he makes his exit.

Yancy: We at the board used to hold you in high esteem, Jackson. We saw great things in your future. Now, with all these foolish mistakes... let’s hope that all your promise hasn’t dissolved with the Hunter I used to know.

The threat is buried deep beneath the thinly-veiled condescension, hidden in a simple choice of plural. Mistakes. This battle is just one in a long, growing list Yancy is keeping against him.

Like he could ever forget it. Jack releases a heavy sigh after Yancy leaves his office, slouching in his chair.

Lucas, pre-lap: I shouldn’t be surprised. This might as well happen.

INT. AAA - TECHNICIAN’S BOOTH - DAY

Riley listens attentively as Lucas paces the booth, busying himself with gathering stuff for class for the sake of moving. Although his tone is sarcastic and indifferent, the weight of his words indicates he’s far from it.

Lucas: It’s not like I don’t already have enough to focus on, between the usual bullshit and the fundraising for showdown -- a showdown that we have to win if we want any chance of the scholarship thing actually taking off. That on top of the college applications I wasn’t planning on doing three months ago but now have to make really good, because suddenly I have dreams or whatever, even though I’m basically the most rejectable candidate on the east coast.

Riley: Okay, you know that’s not true.

Lucas: Fine. Most rejectable candidate in the greater Manhattan area.

Riley: You literally won an election.

Lucas: And the world is still wondering how and why.

Riley rolls her eyes, but she is sympathetic. She agrees that the stage accident was definitely an unexpected speed bump on everything they’ve got going on, but they’ll figure out how to handle it. There’s no way it’s going to be entirely on them, anyway, and they don’t even know how much damage was actually done yet.

She takes the opportunity to broach another topic, though, easing into a deeper conversation about college. She asks how his applications are going, which he claims are fine, in spite of the stress surrounding it.

Lucas: The only stuff I’ve got left are recommendations and personal essays. And I know I’m fucked on the recs considering you’re supposed to ask for those months in advance, and I know no one impressive, least of all who would sing my praises.

Riley: You could always ask my dad for a recommendation. I’m sure he’d have glowing things to say. Instant acceptance, I bet.

Lucas, flatly: You are hilarious. It’s no mystery how you managed to reel me in.

Riley: Well, that and my effortless charm and insanely dazzling visage.

Lucas gives her a look, but to be fair, he doesn’t argue her on it. She simply beams in response, sliding closer to him and halting his pacing by taking his hands.

Lucas: Honestly, I’m not really stuck on the recommendations. I think I’m going to ask Joe for one, because he can at least speak to my work ethic or whatever, and the other… I mean, it’s whatever. I’ll figure it out.

Riley: But…?

Lucas: But… I don’t know. With the rest of the app…

It’s clear there’s something else he’s really stuck on. Riley starts to offer him advice, or maybe just encouragement, but they’re interrupted by a knock on the booth door. Jeff appears moments later at the stairs.

Jeff: Class is starting. Judgment day is upon us.

Lucas and Riley share an apprehensive look, then follow the lighting technician out of the booth.

INT. AAA - AUDITORIUM - DAY

Harper, Shawn, and ERIC MATTHEWS are on the stage, assessing the damage while the A class gathers in the front and center section. The destroyed curtain has been removed, the pock marks in the stage even more visible in its absence.

ANGELA MOORE emerges from the wings, Janitor HARLEY KEINER in tow. She’s just barely starting to show her pregnancy, but the flowy tops she’s wearing now conceal it fairly well.

Harley: Old curtain’s out back. Trash company will be by this afternoon to take it away.

Angela: I have to say, I picked a great day to stop by and visit. Never a dull moment.

Harper: Girl, tell me about it.

Angela laughs knowingly. Been there, queen. Eric and Shawn turn their attention to the seniors, coming towards the front of the stage.

Eric: Who wants to explain what exactly happened?

A whole bunch of them immediately launch into retellings, talking over each other and definitely exaggerating elements of the story. The camera jumps around to each of them, catching snippets of their perspective.

Sarah: If Jeff had just changed the song --

Jeff: I was in the catwalk!

Nate: So Jeff’s up in the catwalk, and Dave is handing me shit -- I mean, uh, stuff -- on the scaffolding --

Darby: Isadora pushed Farkle --

Isadora: I lightly nudged Farkle --

Maya: Farkle is like a house of cards and all it takes is a little wind to knock him over, so he goes flying into the ladder --

Clarissa: Paint splatters --

Yindra: The ladder goes crashing down and nearly takes off Nigel’s head --

Jade: Oh my God, what?

Nigel, pointedly: No, it did not. [ softer, to Jade ] No, it didn’t.

Yindra: It did.

Haley: Not like the curtains almost took out Dave!

Yogi: This class is a circus act.

Eric holds up a hand to halt them all, waving them down. He can’t figure out what any of them are saying when they all talk at once, so he asks for a volunteer to give the rundown. A few hands up go up, but Eric wisely selects Zay.

He pulls himself to his feet, gingerly, for the effect. Then he clears his throat, speaking plainly and matter-of-fact.

Zay: Farkle got knocked into the ladder. Ladder falls, dents stage. Dave almost falls, Nate is no help --

Nate: Whoa, okay then. Hater.

Zay: Maya stumbles back and knocks silver paint can over. Performers tell Dave to grab curtain, Jeff objects --

Jeff: Justice. Thank you.

Zay: Dave does anyway, whole thing comes down. Also, no one in this class has taste and for that they evoked the wrath of God. But apparently God can’t kill Dave Williams.

Dylan: So metal.

Eric: Thank you, Zay.

Zay does a pithy salute, lowering back into his seat. Harper goes on to explain the total damages done by the incident as well as relay the total cost of the repairs -- without saying a definitive sum, suffice to say it’s not cheap.

The A class immediately breaks into chatter again, trying to divert blame off themselves. Shawn notices one student doesn’t seem particularly vexed -- in fact, he appears to be laughing to himself behind his hand.

Shawn: I’m sorry, Friar, do you find this funny?

Lucas: What? Oh, no, no. Very serious business. [ clearing his throat ] It’s just… it’s so nice to not be the one responsible for once.

The performers immediately boo him. He simply smiles. CHAI FRESCO is the one who manages to redirect the conversation.

Chai: What exactly is he doing here?

All eyes turn to Janitor Harley, who stands sheepishly next to the faculty. Harper says she’s glad Chai asked, claiming that if anyone deserves an apology for what they did today, it would be him. He puts a lot of effort and care into maintaining their sacred space, this auditorium, and the damage done today walks all over that.

Darby: It really was an accident.

Harley: No hard feelings, Miss Winters. Mighty nice as it was for Harper and Shawn to invite me here, rest assured I know there was no ill intent or disrespect. And I can assure you that with the time and proper resources, we will return this stage to tip-top shape in no time.

Maya: Lovely. Problem solved then, no?

Eric: Not quite. You do still have an assignment to attend to, especially as it’s your last major one before finals.

Harper: Since it is a weird time in the calendar and we don’t want to barrel another assignment next week right before showdown, Shawn and I agreed that this assignment would be a two-week stretch, and ideally lower stakes.

Shawn: Even better now, considering how you all just doubled pressure on your own.

Harper: And since you’ve also in turn given Harley more pressure and work to attend to in this time, we thought it only fair that he decide your focus for the project.

With that, they pass the floor over to Harley again to make his declaration. The performers don’t seem all that unnerved -- it’s Harley Keiner. What’s the worst he could do? Clean-up anthems? He clears his throat, clasping his biker-gloved hands together.

Harley: When I’m in a particularly rough spot, or working through a grueling task, I have always found that a little music can really liven the task.

Yogi: [ under his breath ] Clean up, clean up, everybody everywhere…

Harley: But nothing gets me more fired up, ready to take on a challenge or dance to the beat, than some classic tunes from my early youth. And I’ll tell you kids, no one knew music better than the radio hits of my day.

Slowly, the possibility begins to dawn on the A class what decree awaits them. Dylan is counting backwards on his fingers, trying to calculate just how old Harley actually is, but Asher next to him has beaten him to it.

Asher: Oh no.

Harley: Ladies and gentleboys, we’ll be taking it back to the ‘70s this week for your musical assignments.

Dun dun dun. The A class expresses their obvious disdain. Well, all except Zay, who cracks a smug grin.

Zay: Heh heh… karma.

There’s only more grim news. Considering the stage is going to be undergoing repairs thanks to all this, they’re all essentially ousted from the auditorium for the time being. No sense practicing or rehearsing in a space that’s going to be under construction. JADE BEAMON sits up straighter, shooting her hand in the air.

Jade: We can still access the lofts, right? Like, I can get in the costume loft --

Eric: Yes, all the technical spaces, as well as the dressing rooms, are still fair game. But stay away from the stage.

Harper: And you might not get much work done when they’re doing things like drilling and hammering, so be forewarned.

Haunting… Jade hides in her hands, already stressed. Nigel tentatively pats her on the shoulder.

So yeah, all in all, some unideal circumstances right before some of the most important events of their high school career.

INT. AAA - CAFETERIA - DAY

Maya is in surprisingly good spirits in spite of the financial issues confronting the class, preening and showing off Valerie’s faux fur coat. She wears it effortlessly, entertaining Darby, Sarah, and a crop of underclassmen at a table as she shares the tale of her and Valerie’s instant starlit bond. When Darby reaches out to feel the coat, Maya quickly smacks her hand away.

Maya: You’re welcome and encouraged to look, but no touchie. Golden diva rule.

A couple of tables over, Riley and Isadora watch her showboating with amusement. Riley claims it was really generous of Isadora to give her the coat, but she shrugs it off.

Isadora: Seriously, she’s way more at home in it than I would ever be. Can you ever see me pulling that off?

Riley: I think you can deliver any design you endeavor, you know that. [ off her raised eyebrow ] But yeah, a bit out of your element. Ironically, maybe.

Isadora: Even that’s a stretch. But it really wasn’t a hard decision. As much as it inflates her ego, my mom did see something in her. Maya can use it as a bragging tool all she wants, and people probably won’t believe her because of it, but they probably would be in cahoots if Val were still here. [ a beat ] A lot of things were going to happen if she were here.

Oof. Riley senses the gloom impending, searching for a quick change of subject. She asks if Isadora found anything else cool in the boxes from the estate.

Isadora pauses, mouth parted open. The answer is plenty -- including the mystery hidden way deep down underneath everything else. But for whatever reason, she hesitates explaining what she found.

Thankfully, she doesn’t have to respond anyway. Dylan swoops into their conversation, dropping down into the seat next to Riley and smacking a piece of paper onto the table. It’s a flyer for scheme one of their fundraising efforts: a community dance, now officially ‘70s themed. Isadora turns it around to get a better look at the very bright poster.

Dylan: Hot off the presses, ladies. Another instant classic from the one and only ambassador of public relational fun and enthusiasm, comma right hand advisor, comma prime minister of the techies and secretary of kissing, mainly to the secretary and official marketing and communications director for the Friar administration.

Isadora: Colorful…

Dylan: Shout-out to Harley for basically choosing our theme for us. We’d been sitting on it for ages because Asher and Maya kept fighting over it.

Isadora: Really? What theme ideas could possibly be worth scrapping over?

Dylan: Nothing. Neither of them actually had an idea. I think they just automatically hate anything that comes out of the others’ mouth.

Isadora: Wow, just like a real body politic.

Riley excitedly swipes the flyer, praising Dylan for his enthusiastic design. She snaps a picture of it on her phone and explains she’s texting it to Charlie.

Riley: I’m so pumped for this. Disco isn’t my favorite thing, but it is fun.

Dylan: Bouncy.

Isadora: Jaunty.

Dylan: Ooh, thesaurus bonus.

Dylan and Isadora exchange a quick high five. Riley beams at them, then continues.

Riley: Besides, with how extremely crazy everything is right now between college apps and showdown and now this fundraising debacle, I think it’ll give all of us some much-needed serotonin. A nice evening of… disco dopamine.

Dylan: Oh, you know you just wanna see Lucas in some sick bellbottoms.

Isadora: [ with a gag ] God… please, I’m sitting right here...

Riley shoves Dylan playfully, then reiterates the point. It will be fun. A nice, well-deserved stress reliever after working their asses off these next couple weeks.

INT. AAA - COSTUME LOFT - DAY

And boy howdy, that could not be truer for Jade. She is in full frenzy mode, skipping lunch and hunkered down in the costume loft to work. It seems like she’s been there for days, her space under the loft essentially a nest of costuming supplies, her belongings, and discarded snack containers. Her hair is a mess of tangles falling half out of a ponytail, three different tape measures are draped around her neck like graduation cords, and she’s wearing an old button up paint smock about 3 sizes too large that only exacerbates the crazed hermit energy.

Asher and Jeff listen as she multitasks on cataloguing some of her projects and marks another in progress on the table in front of her, the former visibly disconcerted by Jade’s general state of being while the latter seems mainly tickled. She speaks around a pin caught between her lips as she explains the reason for the chaos -- college applications are due right around the corner, as are apprenticeship applications, and she needs to have all her portfolio pieces in perfect condition before she hits that submit button.

Asher: Again, I know this is hypocritical coming from me, but girl you need to relax.

Jade snaps her head up to glare at him, even scarier with that pin in her mouth. She removes it to stick something down while Jeff asks her what she has left to do. Apparently, she’s just about done after days of relentless work, so she’s on her last application assignment now: pick a decade and create a sampling of as many unique -- but historically accurate -- costumes as possible in her designer’s mind.

Jade: Luckily, Janitor Harley did me the favor of having to pick a decade. If we’re doing ‘70s stuff this week anyway, then we’ll probably need costumes, so I can knock out two birds with one stone.

Jeff: I don’t know if I’d say need…

Asher: Yeah, with the auditorium boarded up for the time being I doubt we’ll be doing any major productions.

Jade: With Maya and Farkle, you can never be too careful.

Case in point, she is way too swamped to even think about the fundraising bullshit. She feels bad, but there’s no way she can split her time. Jeff and Asher assure her it’s no big deal.

Jeff: I think the performers will let you off the hook considering you’ve made… every single costume they’ve ever worn since freshman year.

Asher: Least they could do.

Jeff: Yeah. You deserve a week off!

Jeff’s turn to receive the Jade Beamon death glare. He clears his throat, scratching his ear.

Jeff: Well, you know… not for you, but...

Jade stabs the pin cushion pointedly.

Zay, pre-lap: I guess if my clear eternal damnation is good for anything, it gets me out of fundraising to fix another problem caused by Farkle and the Pips.

INT. AAA - BOYS DRESSING ROOM - DAY

Zay and Nigel are taking their lunch in the boys dressing room, both on their laptops while they eat. They’re working on finalizing college application stuff, Zay sitting on the counter with his injured foot propped up while Nigel is leaning against the mirrors on the floor.

Nigel: Guess it’s worth it then.

Zay: Ha ha, so funny. If I could afford to move, I would kill you for being such a damn comedian.

Nigel: I’m more of a tragedies man myself. [ a beat ] What are you planning to do, exactly? For the applications.

Zay: [ with a sigh ] Just putting the pieces together and hoping for the best. Thank fuck I recorded a couple runs of my routine when I was going through my obsessive drills at the start of the year.

Nigel: Glad Diva Zay was good for something.

Zay: They’re not as polished as I want, but they’ll do. Not like I have any other options. I’m just going to convince myself via self-hypnosis that they’ll see the rough edges as loose, natural charm. Between that and other samples I have from shows and recitals and West Side Story, all I can do is hope that’s enough. And if I get far enough to book an audition… I’ll be better by then.

He says it like a guarantee -- he can’t consider the alternative. Nigel isn’t sure how to respond, but he’s spared from figuring it out as they’re interrupted by YINDRA AMINO entering with a few showdown costumes to replace on the rack. All of them freeze as they glance at one another, Yindra and Zay holding one another’s gaze for a few moments longer. Then Yindra brushes past the awkwardness, shrugging and focusing on the costume rack.

Yindra: No need to go on defense, boys. I’m only here on business.

She keeps her eyes on her task. Nigel picks up the conversational slack, explaining that they were discussing their college applications. He asks how Yindra is doing in plotting her college plans, as last they talked she didn’t have much set in stone.

Yindra, matter-of-fact: I’ll be applying to a couple of schools as a safety net, but my main trajectory remains Los Angeles. The current plan right now is to skip over the bureaucracy of academics I don’t care about and go out there to start striking while the iron is hot. Talent speaks for itself.

Nigel, ever the pragmatist, still seems uneasy about such a plan, but it’s Zay who beats him to the punch. He breaks the silence between him and Yindra with a snort, tone teasing but friendly.

Zay: Straight to Los Angeles with no foundation? Now that’s just asking for trouble, and that’s coming from a diva like me. Haven’t you seen Fame?

Maybe that kind of friendly fire passes when they’re on good terms, but it falls flat now. Yindra stiffens her shoulders, giving Zay a diva glare of her own.

Yindra: [ without looking at him ] Nigel, will you please inform Zay that despite what his superiority complex might think, I’m not an idiot?

Nigel: Oh, um --

Zay: Come on, Yindra. I didn’t mean it like that.

Yindra: And Zay might find it interesting to know that my dad is considering moving to Los Angeles as well, if I plan to be out there, so I don’t see how I’m swinging with no foundation. And I’ll be using the money that we would’ve wasted on tuition for studio time to record a demo, so there is in fact a method behind the madness. Just because I’m not following the same musty, beaten path as everyone else doesn’t mean I’m not on any path at all. [ haughtily ] And even in spite of his broke attitude, I wish him all the best with his less-than-ideal circumstances. Least of all this week -- I’m sure not being able to show off while he discos is simply killing him. Thanks for letting him know, Nigel.

Nigel: … you’re welcome...

With that, Yindra spins on her heel and exits. Zay rolls his eyes, but it’s clear that the state of their friendship is really bothering him. Nigel awkwardly attempts to move past it, commenting that the two of them are about as dramatic as a Shakespearean comedy of errors before coming back to Yindra’s closing point.

Nigel: It’s a shame about this assignment though. You’re probably the only one in our class who could truly thrive this week.

Zay smiles half-heartedly, both of them focusing back on their computers. After a moment, his smile dims.

Zay: Didn’t use to be…

INT. HAVERFORD PREP - HALLWAY - DAY

CHARLIE GARDNER is at his locker, reading the texts from Riley. He pulls up the photo of the flyer for the dance fundraiser, boasting the disco theme for the end of the semester in all its groovy glory.

Yes, it is a tragedy that Charlie isn’t there to participate. Another disco gay, barred from the dance floor. It’s clear from his expression that he’s bummed about it.

He’s only pulled out of his fugue when EVAN SCOTT approaches. He pats him on the shoulder as he passes and asks if he’s ready for rehearsal. With senior showdown finals so close around the corner, Brandon is going to be drilling them more than ever. Now it’s game time for real.

Charlie nods, putting his phone away and shutting his locker to follow him. But that melancholy still lingers in his features.

INT. AAA - JACK’S OFFICE - DAY

But he’s not the only one grappling with an unideal situation. Lucas is the king of that, settled in his usual chair across from Jack, only this time he’s not alone. Maya has been called in with him, the two of them waiting uncertainly as Jack prepares to share why he brought them in.

And the reason for his apprehension is obvious once he says it. He finally breaks the news to them that the school board declined to fund their scholarship initiative -- and that’s not even the worst part.

Maya: Nothing? 

Lucas: They’re not going to contribute anything?

Jack: I know, it’s disappointing. To be honest, I was anticipating at least a partial donation, but for whatever reason it was shot down wholesale. It was close, though.

Maya: Well. That’s just lovely. Could the state of the AAA union get any more despicable?

Jack: To put it simply? Yes.

Uh oh. Jack reluctantly informs them of the other bomb blowing up their administration -- that Yancy has insisted they pay for the damages to the auditorium since their class caused it. Both Lucas and Maya erupt in complaints, the latter literally leaping out of her chair and launching into a frantic pace behind it. She fans herself, taking deep breaths.

Maya: Okay. This is fine. No money, no problems. It’s fine. It’s fine!

Jack: … Miss Hart?

Maya stops behind her vacated seat, gripping the back of it. She takes in a deep breath, holds it, and releases it theatrically. Then she opens her eyes, plastering on her winning star smile.

Maya: It’s okay. Yes, everything is fine. The situation is unideal, in a word --

Lucas: More like bullshit.

Maya: Also a word. But money and I have been tussling my whole career. It won’t be getting the best of me now. We’ll come up with another way to fundraise alongside the dance social and then we will win showdown and absolutely everything will work out exactly how I want it to. It always does.

Jack: That so?

Maya: Thanks to the two powers that be, Principal Hunter -- star and will. And I’ve got both in spades. [ another breath ] Okay, damage control. Need new ideas. Gotta pool resources… brainstorm. I need to brainstorm. I’m thinking… I’m scheming...

Maya hums, entering zen diva mode as she gathers her things. She backs out of the office and assures Lucas she’ll update him as soon as she’s figured out their second moneymaker. Once she’s gone, Lucas and Jack wait a moment to let the Maya pheromones dissipate before continuing the conversation.

Jack: Say what you will about her, can’t pretend she doesn’t have moxie. An interesting choice to partner with you.

Lucas: Believe it or not -- and I’ll deny it if you tell anyone -- I think she’s the best second-in-command I could’ve picked. Somehow her brand of insanity is just right for the Minesweeper that is Triple A student government.

Hard to argue with that. Jack apologizes again for the fact that so much seems to be piling on him at once. He really did think they would get more help from the board… but they’ll keep marching on regardless. The initiative is worth fighting for, and besides, their fundraisers could really outsell their expectations. Especially with a theme like disco, their dance will probably be a smashing success. Lucas can’t help but smirk.

Lucas: Yeah, you’d know all about that, huh? Bet you were just a disco king back in your day.

Jack, flatly: How old do you think I am to have been discoing in the ‘70s?

Cheekiness notwithstanding, the prospects seem good. Not all hope is lost. Jack switches gears, checking in with how Lucas is doing on his applications with deadlines fast approaching. Lucas gives the same general response he gave Riley, tiptoeing around the challenge of the essay component and focusing on the fact that he might get it done at all. Now that it’s so close, it feels more and more daunting… not to mention all the other pressure that seems to be landing on top of him right at the same time.

Jack hears that, and dismisses Lucas so he has time to go deal with all those pressures. Before he walks out, Lucas pauses and turns back for one more thing. He struggles to articulate it since asking for any sort of help feels like specialized torture, but he manages to ask if Jack would be willing to write him a letter of recommendation for the applications. The request surprises Jack, which Lucas reads as discomfort.

Lucas: I know it’s like, pretty last minute and stuff. And there probably isn’t a lot to say about me, so it’ll take some work to throw something compelling together. I should’ve asked sooner, or like, bothered someone else. So I totally get it if you don’t have time or have too much to do or just, you know, don’t want to --

Jack is far from opposed, though. In fact, he’s touched by the request, expression softening to a smile.

Jack: Lucas. [ waiting for him to quiet ] I’d be happy to write one for you. It’s no problem at all.

Lucas: … okay. Cool. Um, thanks.

Jack: You’re quite welcome.

Lucas: I’ll send over the links and stuff later. Today. Later today. So it’s not any later.

Jack: Whatever works for you.

Lucas: Okay… okay. Cool.

Any more bashful vulnerability and Lucas just might implode. He mutters one more quick thanks and scampers away, Jack holding back his amusement long enough to spare Lucas further embarrassment. He chuckles to himself as he shifts back to his work, shaking his head.

INT. ERIC’S APARTMENT - ISADORA’S BEDROOM - DAY

Surrounded by various textbooks and scripts and with her laptop propped in front of her, Isadora sits on her bed. A half-finished essay about how the horror genre has developed over the years is open on her screen, but has been entirely abandoned in favor of the mysterious letter Valerie had in her belongings. Isadora holds several handwritten pages, eyebrows furrowed as she reads her mother’s words. She moves the first page to the side, and we catch a glimpse of Val’s loopy handwriting:

Dearest Zachary,

How lovely it is to hear from an old friend! I’m so glad that you’re doing well. Send my well wishes to that darling wife of yours.

To answer your question, I wasn’t entirely sure of who Isadora’s father was when I discovered I was pregnant -- as you well know, I often got rather drunk back then, so couldn’t be entirely sure of all my actions. However, upon reflection, I have come to the same conclusion as you.

Well, damn. Heavy stuff, even if somewhat rose-tinted through Valerie’s flowery language. Isadora bites her lip as she continues reading, clearly conflicted about this sudden revelation. 

Eric, off-screen: Dinner’s ready!

Isadora doesn’t seem to hear Eric’s yell, so after a moment, Eric comes to her room to tell her directly. She still doesn’t look up from the letter, peaking Eric’s interest. 

Eric: What are you reading?

Isadora: Hm? Oh, nothing.

She folds up the papers and shoves them under one of her notebooks nearby, giving Eric a small forced smile. He narrows his eyes at her, jokingly suspicious, which Isadora laughs off. She hops off her bed and asks what’s for dinner, successfully distracting him.

INT. THERAPIST’S OFFICE - DAY

Farkle is meeting with DR. MICHELLE HAN, assembled in their usual positions with her in her arm chair and him sprawled across the couch. He’s relaying the drama of the week and his unfortunate instrumental role in all the destruction, though at least this time it was far from intentional. But it’s clear he feels guilty about it, and he admits that his uncanny knack for making things worse is definitely not helping him combat those low moods that seem to creep up on him out of nowhere.

Dr. Han perks up at this, taking the opportunity to gear the conversation. She gently asks if they could discuss that further for a bit, his experience with the high and low moods. Everybody has off days, of course, but based on their previous discussions, she’s interested to hear more about how Farkle describes these different emotional states and the other factors that come with it.

It’s not hard to get Farkle to talk. He obliges without hesitation, launching into details about how it feels when he’s feeling especially frenzied -- sort of the opposite of what he’s dancing around now, but such a vivid experience when he’s in it that he remembers the sensation and always can vibe when it’s coming on. Dr. Han listens carefully, flipping to a clean page in her notepad to jot down his thoughts.

Farkle doesn’t think anything of it, but it seems like Dr. Han might be onto something more than just the typical one-on-one chat. A pronounced clapping counts us in...

INT. HAVERFORD PREP - AUDITORIUM - DAY

BRANDON RIVAS is clapping along to the downbeat while the Havies run through their showdown routine, the instrumental from How to Succeed playing on the speakers. He’s keeping a watchful eye on his classmates while they run through the choreography, shouting out when someone is off a beat or not sharp enough on the steps.

Charlie is definitely one of those people. He’s a couple of steps behind today, mind elsewhere, and when he accidentally bumps into BILLY ROSS he receives a glare in response. What’s the matter with you, man?

Brandon: Come on, Gardner! This is your choreography!

Fair point, Brandon. Charlie tries to get back on track, but lucky for him he’s far from the only one struggling this week. DWEEZIL HOWARD is out of step too, and his mistakes reverberate way more as he accidentally sends half the boys into a wave of near stumbles. Brandon yells for everyone to stop, shaking his head as Evan jogs to pause the music.

Brandon: This is not the time to get soft, guys. Showdown is right around the corner.

Havie: So what? It’s not like Adams is any competition. Six years of success speak for themselves.

Brandon: And complacency is the first step in breaking that streak. You want to be credited when that takes us down? [ off his head shake ] So, what’s going on? Is there some contagious case of vertigo going around that makes you all unable to balance on your own two feet?

Charlie chews his lip, shying away from the disappointment. He’s not the only recipient, but he knows he doesn’t have a good excuse -- and certainly not one Brandon would want to hear. But Dweezil answers first anyway, much more visibly frazzled than him.

Dweezil: I’m sorry, Brandon. I’m just really stressing about the MIT app.

Others murmur agreement, mentioning their own upcoming dream school deadlines and the pressure of finishing their applications. Charlie nods along as if that’s his problem too.

Brandon considers this for a long moment, scanning over his peers. He may have high expectations, but he’s not without compassion for his boys. He relents and expresses sympathy for everybody’s stress, claiming they can call it quits early today and cut down on afternoon rehearsals for the next few days while everyone is wrapping up applications.

The boys breathe a collective sigh of relief, thanking Brandon and starting to disperse. Brandon shouts after them to send those apps in fast and get ready to come back to work harder than ever -- they’re not going to slip and fall to AAA on his watch. Billy exchanges a handshake with him and suggests he take some time off to focus on himself, too, but Brandon shrugs this off.

Brandon: No, it’s fine. Think I’ll be able to make use of the time… might have to make some adjustments to the numbers anyway. [ quirking an eyebrow ] Make sure we’re the best we can possibly be.

For what it’s worth, the statement seems less than innocuous. It kind of feels like Brandon knows something we don’t, and based on Billy’s smug reaction, he’s in on it too. They exchange another fist bump before Billy heads out.

Charlie is one of the last to leave, pausing in packing up to check his phone. He’s got a surprising amount of texts on his lock screen, all from Daisy. He opens the thread, finding just under a dozen texts of her sharing live updates with him of an argument that apparently broke out between Rosie and Eleanor. Although her observations are characteristically dry and analytical -- a technical play-by-play rather than biased record -- the fact that she’s telling Charlie about it at all is a sign that she’s concerned about it. The final message she sent kind of sums up the looming stakes without saying so:

“Didn’t this happen with Bridgette?”

Either way, not good news. Charlie frowns. Before he figures out how to respond, Brandon startles him.

Brandon: All good, Charles?

Charlie: Uh, yeah. Yeah, just, you know. Lots on my mind. It was cool of you to give everyone a break right now.

Brandon: Well. [ with a shrug ] Nothing too serious going on with you, I hope. We need your talent to up our dance credentials -- I assume you realize by now how valuable you are to the team.

Charlie: Oh, well…

Brandon: Can’t afford to let anything distract us right now if we’re to come out victorious against Adams. [ a beat ] Least of all Adams itself… you know, it’s okay if you’re feeling conflicted…

Conflicted might be a bit strong -- although Charlie lives basically every day of his life conflicted -- but the notion that Brandon is even close to sensing what’s actually going on in his head sets him on edge. He clears his throat, frantically attempting to throw him off the trail.

Charlie: Oh, no. No. It’s um -- just family stuff. Stuff with my sisters.

Brandon: Ah… sibling nonsense. I get that. I’ve got two older brothers, and even though they’re not at home anymore it’s like I’m still carrying their baggage around.

Charlie: Big shoes to fill?

Brandon: Well, one was valedictorian and is starting his first year at Harvard Law, and the other is starting his third year in prison. So kind of high bars in either direction.

Well. No idea how to respond to that little fun fact. Brandon spares Charlie the awkwardness and lets him go, wishing him a good afternoon.

But pleasant as he is, it’s evident he doesn’t fully buy Charlie’s excuse.

INT. CHUBBIES - DAY

Isadora is at the counter at Chubbies, discussing all of the impending stressors with Lucas during his shift. They’re especially mindful of how Lucas’s scholarship plan is now basically hinging solely on a victory at showdown, which is feeling more and more like a long shot. With Zay no longer able to bolster their performance, they’re short star power.

Isadora: And since Haverford has Charlie, who is basically his counterweight, suddenly the scales are tipped heavily in their favor. We’ll be lucky if we can create some Frankenstein performance around the gaping hole Zay leaves behind.

Lucas: Have you thought about stepping up in his place? Not that you’re anywhere near the level of dancer that he is, but you do purportedly have star power.

Isadora: Gee, thanks. I’m honestly shocked you’re suggesting this.

Lucas: Believe me, it hurts. But I’ve got stakes riding on this too, and I know you’re talented. Maybe you could help prop things back up so we’ve got at least a shot of winning.

Isadora: I don’t know… I mean, I know I performed the other week, but it was all about that assignment, you know? It was specifically because it was out of my comfort zone. [ a beat ] Though, why, I don’t even really know anymore…

She feels more confused about performing these days than averse, with all the grieving she’s done over Valerie, but confusion still feels dangerous. Probably safer to just stay on the sidelines… probably...

Speaking of dangerous tasks, Isadora shifts to college applications. She submitted her NYU film school application ages ago, and she’s got a couple of other things in the pipeline, but she’s much more interested in how Lucas is dealing with his. When he feeds her the same lines he’s been telling everyone else, she raises her eyebrows. Not buying it.

Leave it to Isadora to see right through him. Lucas sighs, relenting and explaining that the essays are killing him. It’s like, everything else he can scrape together, fake, pull off like he’s scraped through everything else in his life. But the personal statements…

Lucas: I hate writing about myself. Why should all of my potential rest on how well I can sell myself in some 500-word anecdote? As if that paints the complete picture. Not that I want that either -- the full picture isn’t pretty. How am I supposed to convince some strangers to take a chance on me when I don’t even believe it? If I had the choice whether or not to know myself, I wouldn’t.

Isadora: Wonder what that says about those of us who do choose to know you.

Lucas: And what am I going to say? Howdy, I’m a son of a bitch, please let me into your school and give me your money to do so? Great fucking deal.

Isadora rolls her eyes. She points out that although he doesn’t want to hear it, when it comes to  finances he knows she can help. Once the money from her inheritance fully comes through, she’ll have plenty that she doesn’t know what to do with. If she’s going to use it to help others -- especially those she cares about -- then helping him pursue his dreams is a non-issue. But, predictably, Lucas recoils at the suggestion.

Isadora: I swear, you are impossible. And you have such a weird hang-up about money.

Lucas: Yeah, views that you shared until about a month ago.

Isadora: Well, I’ve grown. I can see the nuances in money now and how it goes around. And I’m just saying that if you’ve got all these complexes around who has it and who can give it to you when you’re stuck on the bottom rung, then --

No doubt it’s a complicated series of complexes. As Isadora is settling into her rant, MISSY BRADFORD enters the diner. Lucas glances over Isadora’s shoulder and spots her, immediately clamming up.

Isadora: ...it’s what Reagan sold as trickle-down economics, but the thing is if you don’t give any money to the lowest income households from the get-go, then they never --

Lucas: Yeah, yeah, okay. I’ve got to go to the back.

Lucas retreats from the counter without waiting for permission, causing Isadora to scoff. She wasn’t finished! But he’s already gone, leaving her high and dry. But he also successfully avoided Missy, who steps up the counter for a pick-up order and is helped by another employee instead. She doesn’t acknowledge Isadora, who eyes her judgmentally from her stool.

As Missy collects her order and leaves -- glancing over her shoulder one last time for her usual Chubbies worker -- Dylan and Asher enter with Farkle. They join Isadora at the counter, asking where Lucas is. She shrugs, claiming he disappeared to deal with something.

Farkle: You ready to go? Is Maya here yet?

Isadora: Not yet. Figure she’ll be a bit late after the “atomic bomb” Jack dropped on her and Lucas -- her words, not mine.

Asher: What are you all up to?

Isadora: Since Farkle and I were technically responsible for the destruction in the auditorium --

Farkle: One could make the argument that I should have died last year.

Dylan: That would be a sick personal essay.

Isadora: We thought it was only fair that we put in the time to help Maya craft whatever last-minute fundraising effort we’re going to pull together to cover it.

As for Dylan and Asher, they were just stopping by to catch up with Lucas before going to practice their assignment for the week. Isadora commends Asher for performing again, considering it was so out of his comfort zone.

Farkle: Yeah, that’s not -- you’re not thinking of making that a habit, are you? Not asking for any reason, just curious. Not because you’re also a tenor. I’m just wondering.

Isadora: Smooth.

Asher: No, not planning to change career paths. Rest easy, Farkle. Just getting this out of the way sooner rather than later. [ nodding to Dylan ] It’s not as bad since we’re doing it together. And besides, can’t ignore the pull of the funk.

Dylan, wisely: Disco is for the gays.

Asher: Gotta pay our dues and get down with the boogie.

Far out, fellas! Isadora and Farkle wish them luck and head out together. Isadora asks Farkle how his therapy appointment went, and while his answer is unbothered, he definitely seems to be a little spacy this week. Isadora notices and considers asking him about it, but opts not to press further. They’ve got enough going on right now.

INT. GARDNER HOME - ROSIE’S BEDROOM - NIGHT

ROSIE GARDNER is huddled up in her bedroom, begrudgingly working on homework. She’s got Niall Horan playing, and the volume is turned up loud. It takes multiple knocks on her door before Rosie hears, shouting over the noise.

Rosie: Go away! I’m busy.

Charlie, from the hall: It’s me. Can we talk for a minute?

Rosie sighs, but gets up. She opens the door and spins back around to drop back into her seat at her desk, not bothering to greet him. But she let him in, which is more than anyone else has managed this evening.

Charlie blinks as the pop music assaults his ears. He gently closes the door behind him, raising his voice over Niall.

Charlie: Think you could turn Niall down for a second?

Rosie: Huh?

Charlie: Turn your boyfriend down so we can actually hear each other!

Rosie: Ugh. You’re so not funny.

And yet, she relents and lowers the volume. Charlie makes a show of shaking off the ringing in his ears, knocking his ear slightly.

Charlie: Just checking for significant damage. Need industrial strength noise-cancelling headphones to come in here. Like they wear when they guide airplanes onto the runway.

Rosie: You are so annoying. Did you want something, or?

Charlie explains that Daisy texted him that afternoon about a fight she apparently had with mom. She seemed pretty concerned, so he just wanted to check in. Is everything okay? Rosie rolls her eyes.

Rosie: It’s so whatever. Daisy is exaggerating.

Charlie: I don’t think Daisy is capable of exaggeration. We took all the drama genes, there wasn’t any left for her.

Rosie: Well, she is. Yeah, mom and I argued, but it’s like… it’s dumb, whatever. I don’t even care.

Charlie: You’re listening to your sad 1D playlist.

Rosie: I said I don’t care, Charlie. And I can listen to whatever I want whenever I want.

Charlie: Okay, well, can you at least tell me what it was about? Or what’s --

Rosie: Ugh. It was nothing! Can you mind your own business and leave me alone? I’m trying to work.

Yikes. Rosie has always had a little bit of early teen venom in her, but this feels like more than that. Charlie doesn’t want to just let it drop, but it’s more than obvious she will not be having any productive conversations right now.

Charlie: Okay. I’m only -- if you want to talk about anything, you know you can tell me. I’m here to listen. [ a beat ] Okay?

Rosie: [ not bothering to look at him ] Okay. Whatever. Thanks.

She turns Niall back up, effectively ending the talk. Charlie hangs around for a moment longer, words he wants to say on the tip of his tongue, but for now there’s nothing to be done. He reluctantly retreats, the ghost of the past looming over him.

INT. MINKUS HOME - FARKLE’S BEDROOM - NIGHT

Farkle, Maya and Isadora are spread out around Farkle’s bedroom as they brainstorm ideas for fundraising. Maya paces around, occasionally picking up little trinkets and inspecting them before putting them back down in the wrong place. Isadora, meanwhile, is laying down on Farkle’s bed on her back, her head hanging upside down off the side. Farkle has gathered a blanket around him as he sits at the other end of the bed. 

Maya: You need to add some meat to that stick of a body, Farkle. You can’t keep living like an orphan who’s freezing to death on the streets of Victorian London. 

Farkle: It’s not my fault I have a fast metabolism. You’re just jealous. 

Maya: Yes, I’m very jealous of the boy who looks like he’s dying of scurvy.

Isadora snorts in amusement, for which Farkle shoots a glare at her.

Maya: Go get us some snacks, orphan boy. We’ll fatten you up Hansel and Gretel style.

Farkle: This is offensive to orphans everywhere, I hope you know. 

Isadora: As the only orphan here, I’m not offended. Maya, you may continue your bullying.

Maya grins, but Isadora frowns as she realizes what she said. Technically, she isn’t an orphan, if her father is out there alive... despite rolling his eyes, Farkle does get up to get snacks, blanket still tightly wrapped around him.

Once she and Maya are alone, Isadora sits up straight and turns towards her, lips pursed in thought as she considers what she wants to say. 

Isadora: Do you know who your dad is?

Maya stops wandering around and looks at Isadora in surprise.

Maya: Where’d that come from?

Isadora: I don’t know. Just wondering about the orphan thing, I guess.

Maya: Izzy, that was just a joke. And directed towards Farkle. All jeers are reserved for our darling beanpole -- I’m not stupid enough to drag you.

Isadora: Appreciated. [ a beat ] I know nothing about my dad.

Maya: [ with a shrug ] I know my dad’s name and some basic facts about him, like his job, but nothing else. 

Isadora: Have you ever considered getting in touch with him? What if he’s out there somewhere? Mine or yours.

Maya: When I was younger I thought about it… but he abandoned me, so what’s the point? If he wanted me in his life, I would be. He knows who I am and how to contact me, but he hasn’t. Why waste my precious time and energy dealing with him when I already have my mom? She’s all I need.

Isadora nods, considering this. Her father situation is quite different to Maya’s, so not all that helpful. Regardless, it’s something to think about. Maya is pensive, too, mind now occupied by thoughts of Katy. Isadora notices her shift in mood.

Isadora: You miss her?

Maya: [ with a theatrical sigh ] Always. [ then, a bittersweet smile ] It’s okay, every artist has to have their tragic backstory. It’s good. Gives me personal agony to work through.

Isadora: … well, actually --

Before she can say anything further, Farkle returns with an armful of snacks. He tosses them at Maya and Isadora.

Farkle: Here you go, little piggies. Oink oink.

Maya: You can’t say that to us, we’re women.

Isadora: We could have you cancelled for that.

Maya: Besides, as the only poor one present, I reserve all rights to the word pig. [ eyeing them ] Capitalist swine…

Farkle: Yeah, speaking of lack of funding...

The conversation moves on, back to fundraising, but Maya gets out her phone to send Katy a quick message letting her know that she misses her.

INT. AAA - ATRIUM - DAY

Song Cue ♫ ♪ “Boogie Shoes” as performed by Glee Cast || Performed by Asher Garcia & Dylan Orlando

Kicking off the first official performance for the ‘70s theme, Asher launches us into number with an impressive opening note. He starts at the top of the stairs in the atrium, starting down the steps while singing towards Dylan, who’s waiting down below. When he sings “boy, to be with you is my favorite thing,” Dylan playfully points to himself and beams. They’re both dressed in modern-day approximations of disco garb -- colorful dress shirts, glossy vests with matching flare pants, funky patterned ascots.

And they’re setting the standard for what performances will be like without the usual stage of the auditorium. Their chosen location is the atrium, mostly empty as it’s during class hours, the rest of the A class scattered around the space to watch and provide back-up vocals (as well as their usual reactions and applause). Zay is particularly torn, clearly flipping between jealousy that he can’t be dancing and basically vibrating with the infectious groove.

In the case of Dylan and Asher, there is plenty to cheer for. They’re simply undeniably a joy to watch, especially with each other, and Dylan was right when he said disco is for the gays. They’ve got the night fever, full of energy and charm as they dance together. On the “woo!” during the bridge, Dylan lifts Asher in a funky little hop moment. And Asher’s vocal runs throughout are nothing to scoff at either.

It’s a smashing way to start the assignments off right!

INT. AAA - PRACTICE ROOM - DAY

As strong a showing as that little number was, the upbeat mood doesn’t last long. Stress dominates in the meeting between Maya, Yindra, Farkle, Jeff, and Isadora, who are deliberating on the current status of their showdown setlist. They’re attempting to analyze it and rework with the knowledge that Zay will not be able to participate, but it’s easier said than done.

Lack of focus doesn’t help matters. Farkle is noticeably zoned out, lost in his own head, and Maya has to snap at him to get him back at attention. This is not amateur hour! No time for spacing out, Farkle! He apologizes, but Isadora notices he still seems far away somehow.

The fervent discussion is immediately halted when Zay enters the studio, realizing they’ve all convened to work without him. He asks what gives.

Maya: It’s not personal, Zayby. But considering your current situation...

Zay: I’m still choreographer. Even if I’m not performing, I should be included in meetings. Especially if you’re talking about altering the routine.

Jeff: We’re not.

Farkle: At least, not right now.

Isadora, diplomatically: We just know that not being able to participate is difficult for you, so Riley suggested… we figured it would be better not to like… force you to deal with it. Or rub it in your face.

Maya: Exactly. See? We’re doing this for you.

How sweet. But Zay isn’t moved. He grows defensive, nodding along but dripping with sarcasm.

Zay: Great. Thanks. Well I guess if you need to drag me out of the recycling bin to comment on choreography, you all know how to reach me.

He storms out -- a bit unevenly on his boot -- leaving them awkwardly in his absence. Farkle clears his throat. The only who doesn’t seem uncomfortable is Maya, who shifts gears back to the matter at hand effortlessly. It’s just business, after all.

Maya: So star power --

INT. THRIFT SHOP - DAY

Riley is searching the racks for an outfit for the ‘70s dance, Charlie in tow. Every now and then, she’ll find a vintage shirt that’s his size and hold it up against his chest just on instinct, always on the lookout for her friends even if they’re not looking themselves.

Riley: It’s amazing how every color looks good on you. You should really consider branching out beyond neutrals and inoffensive shades of blue.

Tell us something we don’t know, Riles. Charlie brushes off her compliments, keeping his focus on the topic at hand while they shop. He’s seeking advice on how to handle arguing family members, since unfortunately, Riley has plenty of relevant experience with that. He’s had it in his family before with Bridgette, but he can’t remember much of it and honestly, one of the keys to their family dynamic is how most unpleasant things occur behind closed doors. Most of the time, they don’t even know when something is wrong with each other.

Riley: Do you have any more details? I feel like context would help.

Charlie: Nope. I only heard about it through Daisy, and when I tried to talk to Rosie, she wouldn’t budge.

Riley contemplates and admits she’s hesitant to try and give advice when the context is so vague and wide open, but ultimately the most important thing she thinks he could do is to continue being there for Rosie. He told her he was, and that’s the best he can do under the circumstances. If he actually witnesses another argument for himself, then that’s a different story.

Riley: But no matter what happens, try not to let yourself get caught in the middle of it. I mean, you should help where you can, but there’s nothing worse than trying to fix problems that aren’t yours and you can’t control. It’s between them, not you, and trying to mend it from the outside is only going to result in failure and frustration. You have to look out for your own well-being first. I wish someone had told me that before my parents fell apart.

Very important advice. Charlie thanks her and expresses sympathy for her messy parental situation again, but she shrugs it off and moves past it. Instead she finds another cute ‘70s material button down in classic sky blue, enthusiastically lifting it up to measure against Charlie.

Riley: Pair a blazer with this, and you’d be all set to boogie. Makes your eyes pop too… ugh, you’re so pretty it’s disgusting.

Charlie: I thought we were shopping for you, not me. I’m not the one who gets to disco.

Riley: Well, that’s not necessarily true. The fundraiser is open to everyone -- that’s the only way we’re going to make any profit, after all. And you know you’d be more than welcome.

Charlie: Yeah, maybe… with showdown so close and everything…

Riley: Charlie. [ holding his gaze ] You’re family. Forget showdown, forget east and west side. As long as I’m around, you fit. And I know for sure I’m not the only one who feels that way. Got it? Can you dig it?

Charlie, grateful: I can dig it.

Riley: Righteous. I’m serious though, what you should dig is this shirt.

As Riley shifts back to searching for her own look, they jump to chatting about college applications. Charlie asks how hers are going after she explains Lucas’s poorly concealed stress about them, and she claims they’re going fine.

Riley: I’m a pretty textbook candidate, all things considered, and my poor tragic backstory of being bullied out of school and divorced parents sure makes for great personal essay fodder.

Charlie: Kind of weird how they teach us to exploit our own trauma…

Riley: I’m definitely applying to Barnard, and I’ve decided I’m going to throw my hat in the ring for Tisch even though it’s basically the longest shot there is. Add in a handful of second choice picks and you get the idea. But honestly, I’m not all that pressed about it right now. I feel like it’s going to be way harder when acceptances and rejections come through and it’s all… real. I can throw any application out there I want and I don’t have to do anything about it. When I actually know what my options are… then it’ll be real. You know? When I actually have to decide what path I want to take. Because right now, I feel like I have no idea what I want that to be.

Charlie nods, agreeing wholeheartedly. He definitely knows the feeling of not having any idea what he wants the future to be… as the low hum of an unfamiliar instrument floats in…

INT. AAA - BLACK BOX THEATER - DAY

Song Cue ♫ ♪ “Amazing Grace” as performed by The Military Band of the Royal Scots Dragoon Guards || Performed by Dave Williams

In what is probably the weirdest performance AMBITION has seen to date, Dave stands alone in front of the classroom and goes to town on the bagpipes. Yes, apparently, Dave Williams can play the bagpipes (though whether he plays them well is a whole other story). And he gives it his all on this immensely famous tune, bewildering his peers and rendering them speechless.

That being said, while they can’t find any words, that doesn’t stop the A class from reacting. The expressions range from confused to stunned to struggling to keep it together. Maya stares in disbelief and then scrunches her face, looking around to see if anyone else is seeing this. Zay and Nigel are on the verge of tears from stifling their laughter; Yogi is misty-eyed from sheer emotion at his best friend’s… powerful performance. Nate mouths trying to sing along to the screechy tones with an absolutely delighted grin, while Dylan emulates the patriotic vibe by standing and giving a salute. Asher shakes his head from next to him, also hiding laughter behind his hand.

When Dave finally concludes, releasing a big exhale, the room is filled with silence for a long moment. Yogi starts the applause that the others uncertainly mimic, until Isadora finally, bluntly breaks the silence.

Isadora: Okay, I’m just going to say it -- what the hell, Dave?

Dave: What? Is something wrong?

Sarah: Where the hell did this come from? Are you seriously damaged?

Yindra: Forget that. I’m dying to know when you learned to play the bagpipes. And why have you deprived us of it for so long?

Farkle: The assignment is ‘70s music. How did you end up on “Amazing Grace?”

Dave, baffled: I don’t get what the big deal is. I found the song on a ‘70s playlist on Spotify, I can show you. And I looked it up -- the fig Newton dude wrote the song in 1779.

Clarissa: Fig newton --

Zay: [ at his wits end trying not to laugh ] I can’t. I can’t --

Dave: 1779! So it’s from the ‘70s.

All, in unison: 1970s, Dave!

Dave: … WHAT?!

The class descends into hysterics. Harper attempts to thank Dave for an… interesting performance, if nothing else.

Harley: I found it quite spirited. Very much enjoyed.

Dave huffs, marching back to his desk. He drops his bagpipes on the desktop --

EXT. AAA - REAR PARKING LOT - DAY

Which becomes a soapy sponge landing with a splat on the hood of a car, Haley working to scrub it clean. A few more quick shots help establish the setting -- Jeff and Darby untangling hoses; Riley and Chai filling up buckets of water; Asher ringing out a washcloth as far away from his body as he can stretch it, mildly disgusted.

Yes, Maya’s new fundraising scheme is in full swing -- a car wash! Cars are lining up for the A class to give a shining clean-up. Considering they threw the concept together in just a couple of days, it’s really not a shabby showing. Maya is praising her own quick thinking by the pay table, where they’re also selling baked goods. Zay is manning the cash box, since he can’t do much else.

Maya: I swear, sometimes my own mind amazes me. Never lets me down. And you can’t go wrong with a good old-fashioned classic.

Zay: Yeah, except car washes are usually in the summer. Not the dregs of autumn when we’re all going to get hypothermia.

Maya: It’s actually unseasonably warm today. And that’s the brilliance of it. Who else is doing a car wash in this weather economy? No competition, big bucks.

At least the weather is nice. With them out in their cotton shorts and tees to do all this work, Zay’s right to have reservations. But the sun is out, and the income has been steady thus far. Nate finishes off drying a car with Dylan, who has his hair pushed back with a tie-dye bandana.

Nate: You know, we should all just wet our shirts. That will get the girls and gays to come running.

Maya: [ into her bullhorn ] Don’t accelerate the hypothermia, Martinez. Keep it classy.

Nate: You’re turning down a million-dollar idea!

Maya waves him off, gesturing that he get back to work. And they all put it together real fast when another customer pulls up at the end of the line, EVELYN RAND emerging from her nice SUV and coming over to greet them. She commends them for their efficient set up.

Maya: That’s all thanks to me, Maya Penelope Hart. Vice President and overall go-getter. I’m the one that makes things happen.

Evelyn: And modest as they come, too.

Evelyn happily accepts Maya’s handshake, but she tosses a wink to Zay and Clarissa working the bake sale table. She claims she’s eager to help the cause, and she’s sure they’ll do an excellent job with her car. While she waits, she’s hoping to have a brief chat with Jack, so can she just leave her keys with them? She trusts them to move her vehicle twenty feet when it’s her turn.

Maya: Of course. We here in the A class pride ourselves on our care and attention. Your vehicle is safe with us.

Zay snorts, turning it into a cough. Evelyn hands over her keys pleasantly, waving to the rest of the kids working as she heads into the building. Maya spins the key ring on her finger for a moment, contemplating.

Maya: Can’t afford to screw this up. Gonna need someone extremely anal and annoyingly cautious to handle this one. [ into the bullhorn ] Garcia! Get your persnickety nonexistent ass over here!

Nigel arrives at that moment with a takeout bag in his hands. He tries to weave through the cars and avoid drill sergeant Maya as he heads towards the back entrance to the school, but unfortunately he’s not slick enough.

Maya: Chey! What do you think you’re doing? Cars are over here.

Nigel: Oh. Yes. Well, Jade’s holed up in the costume loft with all the projects she’s finishing…

Maya, unmoved: Uh huh.

Nigel: And I know she isn’t great about eating when she’s under this much stress, so I brought her some food to eat while she works. And I thought I’d go… give it to her… [ quickly ] okay, check you later.

He turns and speeds towards the entrance, making his swift escape. Riley saunters over to join them at the cash table, tilting her head fondly.

Riley: That’s so sweet.

Maya: Meh. A convenient excuse.

Zay: And how are you one to talk, Maya? You realize standing around shouting orders at everyone isn’t work.

Riley: Come on, Madam Vice President. Time to put in a little elbow grease.

Zay raises his eyebrows, accenting Riley’s challenge. Pride in jeopardy, Maya sniffs and relinquishes her bullhorn, placing it on the table. She spins and flips her ponytail over her shoulder, marching over to contribute to the cause. Riley and Zay exchange amused looks, while the boombox blasting the iconic opening hand claps takes over the soundscape...

Song Cue ♫ ♪ “Car Wash” as performed by Rose Royce || Performed by Maya Hart (feat. AAA Seniors)

You all knew it was coming. The moment we started scrubbing those fenders, you should’ve seen it coming. Maya leads the A class in a funky rendition of the disco classic, swaying her hips and swinging her ponytail as they put in the hard work (though, somehow, Maya still manages to avoid most of the heavy lifting). She handles most of the verses, though Yindra also takes some of the spotlight with vocal runs. Nate perfects his slutdrop as he cleans tires.

In the midst of the grooving, the business is bumping. Interspersed amongst the performing we see Clarissa and Dylan charming patrons at the bake sale table, money changing hands, and Zay dutifully keeping track of everything as he mans the pay station.

On the last chorus, Maya has made her way onto a roof of one of the cars, Yindra, Haley, and Darby emulating her on the other cars they’re working on. The A class does some rad synced choreography to take the number home, Maya sliding down the front windshield and kicking up her leg before Farkle makes the finishing swipe of a washcloth across the hood.

Car wash! Zay deposits another payment into the cashbox, snapping it closed with a flourish.

Evelyn’s car is now closer to the front of the pack, and more business is still coming. Charlie makes his way over from the parking lot, waving to Riley as he makes his way over to the tables. Clarissa and Dylan greet him cheerfully, Riley and Maya jogging over from the line of cars. Zay doesn’t say anything, but offers a hesitant smile, which is better than nothing. Charlie mirrors it.

Clarissa comes out from behind the table to give him a hug, but warns him not to let Haley see him -- she’s soaked and will probably get him all damp. Charlie claims he didn’t plan to stay long, he just wanted to come by and see how things were going, as well drop off some baked goods they could sell that he and his sisters made. Dylan takes them happily. Maya asks where his car is and what kind of wash he wants, which Charlie awkwardly laughs off.

Charlie: I wouldn’t make you guys do that. But I can make a contribution --

Maya: Please, what do you think this is, a pity party? We don’t accept charity.

Zay: Yes we do.

Clarissa: We’ll take all the charity you’ve got.

Maya: This is a business, and we provide a service. So put your boring little sedan in line and turn your patronization into profit.

Riley: Maya, if he doesn’t want --

Charlie: You know what? Okay. [ raising his hands in surrender ] I’ll take whatever the easiest job is. Meet in the middle.

Fair enough. Maya relents, going back to shouting orders at others. Zay shows Charlie what their pricing options are, and though Charlie is going for the cheapest one, he overpays anyway.

Charlie: What Maya doesn’t know won’t hurt her.

Zay: Yeah, and it’ll probably save us.

They exchange something close to a conspiratorial wink. Riley senses that they’re actually communicating without imminent disaster, so she comes over to join them. Charlie asks how business is going -- it seems to be moving pretty swiftly. Riley is optimistic, claiming that between this and the dance -- which is garnering a lot of buzz on social media -- they may just cover their expenses yet. At mention of the dance, Riley makes a quip about how Charlie should’ve bought that shirt at the thrift shop to wear, which catches Zay’s attention.

Zay: You’re coming?

Charlie: Oh, no. No, I wasn’t, um… I hadn’t really thought about it.

Zay: Oh.

Charlie, shyly: … would it be okay if I did?

Zay meets his eyes, uncharacteristically timid. He doesn’t know what to say, because he honestly doesn’t know how he feels about the possibility. Things aren’t as tense as they were before, and they’ve managed to break some of the ice that’s frozen them in place, but it’s far from thawed. He doesn’t know if he wants it to be or not. It’s all confusing, and being put on the spot proves just how much.

He’s spared from answering when Isadora pipes up from the curb.

Isadora: Oh, fuck no.

Charlie jumps, turning to search for the problem. Zay leans around him to look too. The issue is not hard to identify.

The Haverford boys. A whole bunch of them, rolling up in their classy cars, totally filling up the back end of the car wash line. Billy honks obnoxiously in his, waving to the washers working further down the row.

Brandon hops out of his car, the rest of the boys following suit. He leads the saunter over to the tables, where Maya, Farkle, and Isadora rush to head them off. Charlie stares as they approach, obviously mortified that they’re here; Zay frowns, glancing at him suspiciously.

Maya: What the hell do you think you’re doing? You’re blocking the line.

Dweezil: Blocking? Is that any way to speak to a customer?

Isadora: One we’re about to kick the hell out, yeah.

The congregation bristles, but Brandon holds up his hands -- both out of innocence and to signal his crew to halt. He remains smooth and unbothered as ever, calmly stating that they’re simply here to support the cause.

Brandon: It’s the least we could do, showing up for the less fortunate. We want showdown to be a fair fight, don’t we?

Maya: Oh, if that’s what you’re looking for, we can give you a fight.

[ Brandon raises his eyebrows, clearly amused by Maya’s sharp spunk. ]

Farkle: How did you all even hear about this?

Brandon: Why, I would think that’s obvious. Charles told us.

[ Many eyes throw to Charlie at once. He swallows, dipping his head. ]

Brandon: Well, technically, he told Evan, but I don’t see why he didn’t just share it with the boys. Evan was more than happy to pass the message along, though, and we all thought it was just a swell idea. Quaint, really.

Billy: Yeah, where’s the lemonade stand? You should jump on that hot market next.

But belittlement aside, they really are here to get their cars washed. That’s all. The A class can take it or leave it, but if they choose to turn away willing customers then that’s their prerogative.

Well… business is business. Maya forces a smile, keeping her diva daggers locked on Brandon as she instructs Isadora and Farkle to go start filling the buckets. Brandon holds her glare, evenly matched with his cool, subtle smirk.

INT. AAA - JACK’S OFFICE - DAY

Jack is enjoying a catch-up with Angela over coffee, in generally good spirits all things considered. As he says, it’s nice to take a moment to forget all of the stress and just chat with a good friend. Angela is touched, placing her hand on her chest. She claims if her visit will be good for anything then, that’s a great reason.

The two of them get on the topic of her pregnancy, and how she’s feeling about impending motherhood. She confides that Shawn is way more nervous about it than she is, but ultimately she feels okay about it. Pregnancy isn’t the most fun experience in the world, but she has always thought that a family would be part of her future. Considering she’s not getting any younger, it feels like the right time.

She asks if Jack ever thought about having kids, and he grows a bit more somber. It’s not that he hasn’t thought about it… and to be honest, he figured if he did he’d beat Shawn to it, but clearly that wasn’t in his cards. And now here he is, coming off a failed serious relationship, already in his 40s…

Angela: It’s never too late, Jack. If it’s something you really want. I mean, hell, look at Eric! He skipped all the hard stuff, too.

Jack: I guess that is one way to look at Isadora’s tragic loss…

Angela: I’m just saying, never say never. You’re a great mentor, responsible and fair, and you care. You care a lot. If you chose to try, whether by yourself or with a partner, I think you’d be a great dad.

Maybe… it all just feels so out of the realm of possibility. Besides, he argues, he basically has 200 kids at any given time to take care of. It’s not the same, no, but he watches out for the Adams students as seriously as he would his own. And you know, sometimes…

Jack: Every once in a while, it kind of feels like they are.

It’s not hard to guess who he’s thinking about. Angela starts to question him further, thinking this is probably a meaningful discussion to have, but they’re interrupted by Evelyn knocking briskly on the door. She greets both of them cheerfully.

Evelyn: So nice to see you again, Angela! I do hope I’m not intruding on anything important -- I meant to come sooner, but I got caught up in a riveting chat with Mister Keiner. 

Jack: No, of course not.

Angela: In fact, I was just getting ready to head out, so I will get out of your hair.

Jack: I just wasn’t expecting you.

Evelyn: No need to rush, Angela. [ to Jack ] I’m just here to participate in that splendid car wash you’ve got out back. They’ve got a great little operation going, I have to say. And that Maya Hart -- talk about a firecracker.

Jack: Trust us, we’re quite familiar with her spark.

Angela bids both of them goodbye, promising Jack she’ll see him later. Once they’re alone, Evelyn commends Jack on inspiring his students to find creative ways to fund their financial endeavors. Especially given how their original proposal for the scholarships was voted down at the school board. In her opinion, she was hoping they’d at least contribute a portion -- she thought it was a nifty idea.

Jack: Yes, they weren’t thrilled to hear the decision either.

Evelyn: It’s disappointing, although hardly surprising considering the way Jefferson campaigned behind closed doors. He’s got a fairly influential stake in the voting bloc, unfortunately.

Jack: What? What do you mean?

Evelyn: Oh, Jack, I thought you already knew. It was an extremely close vote on the board to provide funding, but Jefferson tipped the scales against it. He and Yancy basically talked it down for days with colleagues before the actual tally.

Um, no, Jack did not know about that, and it obviously pisses him off. He’s speechless, trying to process the blatant partisan maneuvers being played against them within the inner workings of the board. Especially from someone who is now working within the walls of AAA. He knew Yancy didn’t like him, but this…

EXT. AAA - REAR PARKING LOT - DAY

The Haverford boys are loitering while they wait for the A class to finish cleaning their cars, showing how completely unbothered they are to hang around and watch their competitors sweat. Charlie is also hovering to nervously keep an eye on things, staying with Clarissa at the baked goods table and nibbling on a sugar cookie.

From where he’s scrubbing Dweezil’s windshield dry, Nate glares at them derisively.

Nate: Rich pricks. I should smash this damn window…

Yogi: Easy, bulldog.

Dave: Just smile and wash, boys. Smile and wash.

Thankfully, they’re efficient, and it doesn’t take them long to grit their teeth through the work. Maya slaps her washcloth against Brandon’s hood, declaring it finished, then marches her way back over to where he’s slouched against a lamp pole near the pay table.

Maya: Alright, knock-off Warblers, your cars are done.

Evan: Warblers?

Dweezil: From Glee.

Billy: Ha! She thinks we watched Glee.

Bottom line is, their business here is done, so they can roll their asses out. Maya essentially shoos them, but Zay pipes up from the pay table.

Zay: Um, they can’t go yet. They’ve still got a tab to settle.

Maya: They didn’t pay upfront?

Billy: Well, couldn’t very well do that. Why would we pay you before we get any proof that you’re going to do a good job? It’s simply smart shopping.

Clarissa: Well, the job is done now. So you can pay up.

Brandon: Ooh… see, I think there might’ve been a misunderstanding here.

Charlie tenses, sensing impending doom. He steps out from behind the table in case he needs to mediate, just as Isadora and Farkle march back over with their buckets and rags to see what the hold up is. They’ve got other potential customers waiting.

Brandon: Another smart business practice is to agree on the terms and conditions before you make a deal. Now, we always knew our payment was going to be contingent on the quality of the work. Sure, Babineaux here laid out the pricing for us, but we didn’t get anything in writing. You didn’t get our John Hancocks signing off on it.

Zay: You’ve got to be fucking kidding me.

Charlie, nervously: Come on, guys --

Maya: So you mean to tell me that we just spent the better part of an hour scrubbing your ungrateful little shits until they shined, and blocking other well-intentioned customers from coming in the meantime, only for you to stiff us at checkout?

Dweezil: At least we made you look busy.

Billy: Yeah, consider it practice. We know you could use all of that you can get.

Brandon: [ with a shrug ] Should’ve gotten it in writing.

Isadora: Yeah? Well how about you fucking get this --

She and Farkle snap first, lifting their buckets and sloshing them directly at Brandon. It catches him off-guard, totally dousing him in sudsy water.

Charlie: Oh no.

Riley, from the curb: Oh no.

Billy: Oh, hell no!

Hit the queen bee, feel the sting of the workers! The Havies immediately fire back, grabbing whatever they can get their hands on -- hoses, abandoned buckets -- and lobbing it back at Isadora and Farkle.

And with that, it’s a full-on brawl. Water and soap flying in every direction, the other Havies and Adams seniors launching into the battle without hesitation. Maya shrieks as she’s soaked, shouting for her classmates to take the Havies out. Zay salvages the cash box and dives under the table, taking cover.

INT. AAA - JACK’S OFFICE - DAY

Jack is still searching for what to say in response to the bombshell information Evelyn dropped, but Harley leaps in the doorway and gets both their attention.

Harley: Major problem at the car wash. It’s completely devolved.

Jack exchanges a quick look with Evelyn, then jumps up from his chair.

EXT. AAA - REAR PARKING LOT - DAY

Jack and Harley emerge as the water fight is in full swing, and basically everyone is dripping in soap water. Jack takes control and marches into the fray, stepping into authoritarian mode and demanding that all of the nonsense cease. The Adams students drop their weapons immediately, not daring to get even a drop on their principal.

Though he doesn’t command the same respect with the Haverford boys, they don’t push it any further. They got what they came for, managing to derail the car wash and pull a fast one on the A class. They cackle with laughter as they sprint back to their cars, piling inside in record time and peeling out of the parking lot.

Brandon’s car is one of the last to leave, catching the eye of Maya, Zay, and Charlie through the passenger window. He smirks and tosses a wink in their direction, but it’s impossible to say who it was meant for. Maybe all of them.

None of them look especially pleased either way. Maya shoots a death glare at Charlie, even though he arguably got the worst of it, completely drenched from head to toe. If he was in on the whole thing, he looks pretty miserable about it.

Break 1.

INT. ERIC’S APARTMENT - ISADORA’S BEDROOM - DAY

Now in fresh, comfy clothes and bare faces, Riley, Isadora and Maya lounge around in Isa’s bedroom. Maya’s hair is up in a towel wrap, while Riley’s is down and in the process of drying, and Isadora’s is pulled back into a messy bun. Isadora is also wearing her glasses rather than usual contacts. With a stretch, Maya hops from the bed.

Maya: I never want to work like that ever again. I’m exhausted, in pain, and starving. Is this Hell?

Riley: You truly weren’t built for working class, were you?

Tell her about it! Maya disappears to raid Eric’s fridge, leaving Riley and Isadora free from her complaints. Isadora uses the opportunity to pick Riley’s brain. 

Isadora: What do you think our chances are in the showdown? Full disclosure. 

Riley: Full disclosure? Not great. [ with a sigh ] But we could still pull through. If we work hard enough, and come together to --

Isadora: I don’t need the full spiel, but thanks. I know how stressed Lucas and Maya are about it, and I’m considering -- considering is the key word here -- offering to perform. You know, if it would help.

Riley’s face lights up, but upon seeing Isadora’s level glare, tries to suppress her smile. She fails. 

Isadora: Don’t look at me. Forget I said anything. 

Riley: Aw, come on. I’m happy you’re thinking about it yourself instead of, like, being peer pressured by Maya or something. 

Isadora: She’s very nearly at her breaking point, I can tell. Every day her will to just let me be is deteriorating bit by bit. 

Riley: I think… not to get too Uncle Eric here, but I feel like because you keep thinking of performing as doing it in front of an audience, like being judged, it’s holding you back. You should just do it for the joy of it. Why were you drawn to performing in the first place? 

Isadora, reluctantly: … because it was fun...

Riley: Exactly! Because it’s fun. You have to have fun with it.

In fact… Riley brightens with an idea, reaching for her phone and searching for a song.

Song Cue ♫ ♪ “Lady Marmalade” as performed by LaBelle || Performed by Riley Matthews, Maya Hart & Isadora De La Cruz

[ Lyrics specific to characters -- follow along here! ]

As the bass and keys begin, Riley stands up on Isadora’s bed, pulling her up with her. Riley sings the initial “hey sister, go sister” to Isadora, who stands awkwardly in the middle of the bed, not looking all that impressed.

In the first verse, Maya walks into the room with her haul from the kitchen. Her mouth opens when she sees Riley singing. 

Maya: Are we doing this? Okay, we’re doing this.

She drops the snacks without a care, jumping onto the bed to join Riley -- just in time for the chorus. They move around Isadora as they belt out iconic vocals, trying to get her in the groove.

Maya takes on the second verse with Riley on the backing vocals. Although Isadora tries to remain stoic, she can’t help but begin to vibe with them. By the end of the next chorus, she’s singing along, too. In French, no less! But maybe let’s not look up the lyric translation…

In the instrumental break, the three girls get down from the bed and strut forwards towards the door. They pass through it one at a time, puffs of makeup and glitter blowing around them in slow-mo as they do.

INT. AAA - LECTURE HALL - DAY

This time, the temporary performance space is the lecture hall, which is an inspired choice since it actually has a pseudo-stage and lighting capabilities.

When they emerge onto the small stage, they’re in full glam. Hair glossy, makeup glowing, and outfits iconique. They each wear a skintight jumpsuit along with oversized faux fur coats. Riley’s getup is a white jumpsuit and yellow coat, Isadora’s is a blue jumpsuit and pink coat, and Maya’s is a pink jumpsuit and white coat. They strut to the front of the stage, spotlights on them.

Isadora takes charge of the next verse, confidently singing and dancing with her friends by her side. Riley and Maya come in towards the end, before all three complete the rest of the song together. It’s glamorous, it’s sultry, it’s powerful. Foxy, ladies!

We fade out of the performance to see the rest of the class and Harper as they applaud. Although the girls don’t look quite as glam out of the performance-dreamscape, they look just as badass. Lucas and Farkle in particular seem stunned by the performance.

INT. AAA - TECHNICIAN’S BOOTH - DAY

Zay hands over the cash box from the car wash to Lucas.

Zay: Despite the carnage, the most important thing survived.

And, in spite of the disastrous end, it seems like they made good for their work. They raked in a pretty penny for all the scrubbing and washing -- it’s far from all that they need, but it should make a sizable dent in the auditorium accident debt. And that’s not nothing.

Lucas thanks Zay for his help and for watching the money, getting up to put it in a safe place in the booth. He claims he can’t do it until Zay leaves, though, since there are certain things only he should know about the booth. Zay rolls his eyes but obliges, throwing in an offhand comment about how weird he is before slowly making his way out.

As he’s heading down the steps, he passes by Missy, who is casually making her way up into the booth. Like she goes up there all the time, like it’s no big deal. She even greets Zay as they pass, which he uncertainly returns. He frowns at her over his shoulder as she heads on up, obviously confused by her presence.

As confidently as she enters, Lucas evidently wasn’t expecting her either. He jumps when she addresses him, moving away from wherever he stashed the car wash cash. When he realizes it’s her, his posture grows even more defensive.

Lucas: What are you doing in here?

Missy: Only what anyone would deem visiting this musty space worthy for. I’m looking for you.

Lucas: I don’t know if you missed the memo, but people don’t waltz in here whenever they want. No matter how privileged they are.

Missy laughs, allowing him the dig. Following their increasingly common rapport, back-and-forth that straddles the line between friendly fire and hostility depending on your lens. She maintains innocence as she waits for him to settle back in his usual chair, claiming she only wanted to discuss the current A class financial crisis.

Missy: I heard your little car wash wasn’t half-bad. Congratulations are in order. Though I don’t believe I heard much about you out there breaking a sweat to wash those vehicles...

Lucas: You can congratulate the rest of the class when you see them.

Missy: Shame. I’d think if we put you out there front and center, you might’ve garnered a greater profit.

Lucas: Please.

Missy: You shouldn’t undersell yourself, Lucas. It worked for Chubbies, did it not?

If her increased patronage is any indication, then technically, yes. But Lucas doesn’t seem keen to acknowledge that. She moves closer and hops onto the lighting booth table, crossing her glossy legs where they are in perfectly accessible view. In a place where Riley often sits. It just feels wrong. Lucas averts his gaze, looking down at the soundboard instead.

Missy: Anyway, as cute as the fundraising effort is, I don’t exactly see the point.

Lucas: Well, for those of us not in the 1%, there’s this annoying everyday thing we have to do called “acquiring money.” I’m sure that’s probably confusing for you --

Missy: I meant for Adams. Or for the A class, more specifically. I don’t see why you all should be out there sweating through manual labor… when you could just ask me for the money.

Oh. Well that’s… an interesting proposition. Lucas is surprised she’s even offering it, enough to lift his head again to meet her eyes.

Lucas: … it’s hundreds of dollars…

Missy, coolly: Drop in the bucket. [ looking him over ] Surely you would know that by now.

Lucas hesitates, contemplating. Missy observes him, watching for the chinks in his armor. Those rare moments when he’s not as aloof and disdainful as their banter leads her to believe.

Lucas: I don’t see why you would help when it does nothing to benefit you.

Missy: Isn’t helping the class helping me in the end? [ off his skeptical eyebrow raise ] And oh, they’ll find a way to pay us back somehow. Every debt gets paid eventually. Name on an auditorium seat, plaque outside the lecture hall. That’s the charity solution to everything, slapping your name on something. I’m sure daddy would love to have the Bradford name in gold somewhere in this heap considering the chilly reception Hunter gave us when all this started.

Missy found about a dozen unintentional trigger words to throw in that sentence to change Lucas’s tune. Whether the most credit can be given to the word “charity,” or invoking Jack in a negative light is debatable, but Lucas is suddenly even stonier than before. He clenches his jaw.

Missy, softer: It’s not like you haven’t already accepted donations from the Bradford fortune… and that’s lightened the load, hasn’t it? Nothing wrong with that. [ a beat ] And you and me… I wouldn’t call us friends, but we certainly have… our own thing here. Don’t we? We… mean something. To one another.

Lucas drops his gaze again, cornered. The very insinuation that they have a relationship in any capacity makes him uncomfortable… but then, it’s not wrong, is it? If he’s willingly taking her money, knowingly, then that does symbolize some sort of association. He can’t in good conscience deny it, not when her money is a big chunk of the reason his future is even possible. And she could take all the pressure off them, off him, in an instant… no more fundraising… no more sweating over showdown… scholarships guaranteed…

But his instincts are stronger than that. It’s too good to be true. Everything comes with a cost, and while he might be willing to risk that here and there for his own feeble endeavors, he’s not going to tie his legacy and the rest of the class to it. He returns her eye contact, resolute.

Lucas: If your family wants to donate to the cause, then by all means do. But I’m not asking you for anything. I don’t beg.

Well said and well meant! For what it’s worth, Missy doesn’t seem put off by the rejection. If anything, she seems impressed by his stubborn resistance, even if she knows damn well it’s full of contradictions. Impressed, and definitely stirred by that same fire that captivated her the first time they met during the school board trial. The tension in the air makes that loud and clear.

Missy: No, no you don’t, do you. All part of your… provocative charm.

Message received, it appears… some message, at least… Missy slips off the table and begins to make her exit, assuring Lucas that she understands his perspective. Some things are better kept quiet, and she gets his need to maintain appearances -- and his pride.

Missy: It’s our little secret. And I get where we stand. [ with a smirk ] I think we understand each other better than one might assume.

The mere notion makes Lucas a bit queasy, but he keeps his mouth shut. Missy bids him adieu and disappears down the steps, wishing the Slumdog President the best of luck with his continuing financial campaigning.

Even once she’s gone, Lucas can’t shake off the discomfort of her presence. He has to get up, walk it off, gathering his things and fleeing from the space -- one of the few he’s never felt the need to escape from before.

EXT. HAVERFORD PREP - COURTYARD - DAY

Charlie is having lunch with BRIDGETTE GARDNER, occupying their typical table in the grassy outdoor space. She listens attentively as he catches her up on all of the stuff with their sisters, Charlie clearly seeking counsel from the one person who has been on the other side of this potential falling out. Does she think he should be worried, based on her own experience?

Bridgette: And you haven’t seen any of this for yourself?

Charlie: No, at least not yet. But I don’t think that means much -- I had no idea most of this stuff was going on with you until it was already way too late. When I first saw you having arguments with mom, it was volcano level.

Bridgette: To be fair, you were what, 14? Even younger than that when it all started. But true. Our family is really good at concealing the ugly, and then pretending it doesn’t exist when the moment has passed.

Charlie: And this is coming from Daisy. You know she wouldn’t make things up just for the hell of it.

Bridgette: Also true. She sure is an unaffected little freak. [ a beat ] I say that with love. Every Gardner has to be fucked up one way or another.

Still, with so little firsthand information, it’s hard to say. She doesn’t think Charlie should tie himself in knots trying to problem-solve something he can’t see, but…

Bridgette: Look out for Rosie if you can. You know, keep an eye out. If history is going to repeat itself, and she’s following in my forsaken footsteps… I don’t want her to go through that. She shouldn’t have to go through what I went through. Not that I’m not fine now --

Charlie: Right.

Bridgette: But she’s not tough like I am. And I mean that in the best way possible. Rosie… she’s sensitive. Sweet. Her heart is right there on her sleeve, even if she tries to act like she’s all grit. [ softly ] Reminds me of another sibling I’ve got.

Charlie smiles, but underneath the kind words she’s confirming his concerns. If the stormy energy around Rosie does whip up into a hurricane, then it’s looking more and more likely to be an unavoidable disaster. History may just repeat itself -- and more brutally than before.

INT. AAA - COSTUME LOFT - DAY

Rosie isn’t the only one in a tempestuous mood. Jade is in full-on crunch mode as her deadlines loom ever closer, and even though she’s been basically holed up in the costume loft at all hours she still feels miles from the finish line. She’s skipping lunch to wrap up a couple of last-minute additions to another piece of her portfolio, using Asher as her mannequin. Currently, he’s sporting a rather fancy, outlandishly patterned and bold blouse over his maroon polo. It looks like it could be a ‘70s dance shirt, or the wardrobe of a funky, flamboyant villain, or perhaps an especially stylish swashbuckling pirate… but it’s a Jade Beamon original, so it looks fantastic.

If only the job of mannequin was as fun as the clothes he’s modeling. Asher is gritting his teeth so hard they might crack, cringing every time Jade threads her needle through a piece of it or sticks a pin somewhere. She’s an expert, a professional, but given her stress level she’s missed the mark more than once the last couple of days.

Jade, snapping: If you didn’t wince every two seconds like a little baby, then maybe I would stick you less.

Asher: [ through his teeth ] The two dozen pin prick battle scars I have beg to differ!

Nigel picks that moment to enter, catching the tail-end of their sharp exchange and clocking the vibes immediately. He hesitates by the door, not sure whether he should come in and interrupt anymore or not, but Jade spots him before he can duck out. She immediately loses some of her unpleasantness, straightening up and clearing her throat.

Jade: Nigel.

Nigel: Um… hello. [ holding up lunch ] I know you’re working through lunch again, so I just thought I’d bring something by.

Jade: Oh, that’s… that’s nice. You don’t have to keep doing that.

Nigel: It’s all good. I like being able to help. It’s the least I could do, make sure you eat.

Asher: Someone should.

Jade: I’m still holding pins, Asher…

As if that wasn’t signal enough, Nigel bravely ventures the question of how costuming is going this afternoon. Jade claims it’s all fine, and Asher repeats her comment in a tone that makes it very clear he doesn’t agree. Sensing that the best friends might benefit from a break from one another, Nigel offers to hang around and be her stand-in for a while.

Jade: Really?

Asher, hopeful: Really?

Nigel: Sure. All I have to do is stand there and look pretty, right? Think I can manage that. You know, if I clear the costumer’s standards, of course.

Jade: No, no you -- of course. Of course you do. You’re more than -- obviously, you’re up to standard. I mean, above. I, um…

Asher can’t help but laugh, but he hides it behind a fake sneeze. Jade shoots him a glare, then states it would be preferable actually for him to take Asher’s place for now. It seems like Bird Bones agrees, hopping down from the step stool and carefully removing the fanciful top.

Asher: It’s for the best anyway. I’m supposed to be helping Dylan proofread his college essays. I want to check mine one more time too -- Jade says reading them over seven times is more than enough, but pot meet kettle.

Nigel: A Dylan Orlando personal essay, huh? I’d pay to see that.

Asher: I’m sure he’d let you read it for no charge. One of the applications he’s filling out had the prompt to “describe a work of art from the last century that surprised, inspired, or challenged you and in what way,” so he wrote a whole thesis statement on why Taylor Swift’s album Lover is the most important contribution to art, culture, and society since the invention of music.

Nigel: Wow.

Jade: Of course he did.

Asher: I’ll be genuinely surprised if it’s not a video essay on his vlog in like four months. But you know what, no admissions officer can say he doesn’t have enthusiasm.

True that! Asher makes his grateful exit, handing the piece over to Nigel and wishing him luck. Jade giggles nervously once they’re alone, Nigel smiling and asking if he should just put the shirt on and stand where Asher was. She confirms, avoiding her gaze by digging through her sewing kit until he’s all set and ready to be pinned and needled.

Nigel: I hope I’m doing your work justice.

Jade: You, um… it’s good. You’re good. Ha ha.

She nervously pushes some hair behind her ear, then steps closer to get back to work. If anything can overpower shyness, it’s the stress of an impending deadline upon which your entire future rests. Jade softly explains to Nigel what she’s doing as she does it, since he’s never been her model before, and reassures her that he’s not worried and she can do whatever.

Nigel: I trust you, Jade. You are the expert, after all.

Jade glances up at him, processing the compliment. The declaration of trust. The fact that they’re standing so close, that if he just stepped down off the stool they’d be close enough to… it’s a lot. Sophomore year Jade would probably have ran and hid by now, if not passed out.

But this is the present, and Jade has work to do. So she swallows her butterflies and focuses on her needlework.

Quiet settles over them for a minute, then Nigel speaks again, barely above a whisper.

Nigel: You’re incredible, you know that?

Jade: Huh?

Caught by surprise, Jade’s hand slips… and accidentally sticks Nigel with the needle. He winces and she immediately launches into apologies, retracting her hands to drop the needle and asking if he’s okay. He promises he’s fine, keeping her from spiraling over it by taking her hand so she can’t drift any further away in retreat.

Nigel: Really, I’m good.

Jade: … so you were saying?

Nigel: Yeah. I just wanted you to know… I hope you know how amazing you are. I know you’re super stressed about all this and what these schools and programs are going to think of you, but they’d be insane to reject you.

Jade: I don’t know if I’d go that far.

Nigel: I would. I mean, you’ve made basically every costume we’ve worn for the last three years -- which I know everyone keeps throwing back at you -- and they’re fantastic. Not just because they look good, which they always do, but they’re durable. No matter how gorgeous they look, they can withstand a lot. When we finish a production, they’re worn in, but it’s still as if they’re freshly stitched. That’s impressive. Trust me, I’ve been in enough local Shakespeare productions to say so. One time a piece of my tunic fell off in the middle of the first act.

Jade laughs, charmed by the story and calmed enough by his gentle tone to actually breathe. Nigel smiles at her, fond.

Nigel: You’re reliable. That’s the best thing a person can be, in my opinion. And you’re talented to the extreme, hard-working, humble… I mean, is there anything you can’t do?

Jade: [ with a snort ] Socialize.

The word slips out, and Jade is instantly embarrassed by it. She hides her blush in digging to grab her needles again, going back to work as an excuse not to elaborate.

Nigel: Seriously? You’ve never struck me as without company. With the techies --

Jade: Oh, yeah, that’s the height of engagement. Just me and a bunch of emotionally inept teenage boys plus Dora, getting up to the same old shenanigans. Every girl’s dream. [ with a sigh ] Don’t get me wrong, I love them. Especially Asher, he’s my best friend. And I’m not saying I’m like, a recluse or anything, I have friends, I just… I don’t know. I don’t even know why I’m talking about this. Sorry.

Nigel: No worries. I don’t mind. But for what it’s worth, I don’t see you that way. Anyone would be lucky to have you as a friend. I know I am. [ a beat ] Or like, any kind of relationship…

Jade coughs, not prepared for that. She giggles compulsively again, frantically brushing off the thought as she focuses intently on pinning a piece of the fabric into place.

Jade: I haven’t… ha, I’m so busy, I… a relationship… I don’t have the time to even…

Though she can’t form a coherent sentence, Nigel gets the message. Not available right now. And he admittedly looks a bit disappointed, but he puts his acting credit to use and swiftly covers with another smile.

Nigel: Well, again. Anyone would be lucky. And in the meantime, I’m just happy to support you however I can. Even at risk of puncture wound.

Jade absorbs this, unable to hold back her shy smile. She murmurs a thank you, then hides by throwing all her attention to the task at hand.

But for Nigel, the only thing he can focus on is her. So incredible… and so close… as the easy bass line floats in…

INT. AAA - LECTURE HALL - DAY

Song Cue ♫ ♪ “How Deep Is Your Love” as performed by Bee Gees || Performed by Nigel Chey (feat. Dylan Orlando)

The lights are low and the set-up is simple, just Nigel on the stage with a microphone stand and sporting the finished product of one of Jade’s ‘70s costumes -- a glossy gold suit, styled like Saturday Night Fever, over a black silk shirt. He’s shimmering like a disco ball under the stage lights, reflecting the whimsical, dreamy quality of the number.

The only other person on the stage with him is Dylan, accompanying him on bass and providing back-up vocals. He’s dressed much simpler, dressed in black and wearing his custom-made Jade Beamon original suit jacket from junior prom. His hair is the ‘70s-ified element, swept up and combed back like John Travolta. While he happily lets Nigel hog the spotlight, he does take a moment in the performance to wink to Asher in the audience.

INT. AAA - COSTUME LOFT - DAY

Intercut with the performance, we check back in with Nigel and Jade in the loft, doing a metaphorical dance of their own around each other as Jade costumes. There’s something surprisingly amorous about the set-up when it’s paired with the ballad. Jade remains oblivious, studiously sewing away, but the romantic tension is more than apparent, in Nigel’s expression and the smooth delivery of his vocals as he looks at her.

And you may not think I care for you When you know down inside that I really do…

INT. AAA - LECTURE HALL - DAY

While she’s good at avoiding him while at work, Jade can’t keep her eyes off Nigel during the performance. Clarissa, Haley, and Asher cast knowing glances at her, but she doesn’t pay them any attention. In the back seats, Nate, Dave, and Jeff sway along to the beat playfully.

Cause we're living in a world of fools Breaking us down when they all should let us be

Ultimately, though, even if certain truths remain unsaid, what can’t be denied is an excellent performance. Nigel brings it home with grace, understated as always but, in this case, pretty swoonworthy.

We belong to you and me…

INT. BABINEAUX HOME - ZAY’S BEDROOM - NIGHT

Zay is on the phone with Riley, the latter walking him through all of the bulletins from that day’s showdown discussion. He listens eagerly, living vicariously, but it’s obvious he’s also frustrated that he’s being excluded. He reminds Riley that they can call on him at any time to brainstorm on choreography or reevaluate concepts, but she gently waves him off by insisting she doesn’t want to put any additional pressure on him.

Zay: Well, to be honest, not being consulted kind of makes me feel more --

Riley: Oh, shoot, Maya’s here. She’s supposed to be meeting with Farkle after his therapist appointment this evening, so I’m sure she just has a bunch of notes she wants to Maya-splain to me first.

Zay: If she wants to get on speaker, then she could --

Riley: I’ll see you tomorrow, okay? And I’ll let you know if anything major happens. Love you!

Zay: But Riley --

She hangs up before he can get a word in, even a goodbye. He sighs and drops his phone on his bed, pulling his laptop back towards him. He has his applications webpage open, where he’s painstakingly attempting to piece together the final elements of his portfolio. It’s not in bad shape, but with the glooming reality of his booted foot and inability to make anything more, it doesn’t feel like enough. It feels like being trapped.

He grabs his phone again, obviously wanting to talk to someone about it. But he can’t talk to Riley -- he knows she’s busy. He can’t talk to Yindra. He can’t talk to Maya -- and nor would he want to, thank you very much.

Charlie…

He could talk to Charlie. God, he wants to talk to Charlie. And they’ve opened up the lines of communication again, haven’t they? Couldn’t it be easy, like it was before? All he has to do is say something… but he doesn’t know what that would be. It’s still confusing and twisted up inside him. And whatever happened with Haverford at the car wash is admittedly suspicious, though it just doesn’t feel right to think Charlie would do something like that.

Confusing. Complicated. Stuck. He’s stuck, stuck, stuck.

INT. THERAPIST’S OFFICE - NIGHT

Farkle plops down onto Dr. Han’s couch, releasing a dramatic sigh and telling her there’s much to discuss (as there usually is). He starts to rattle off about the showdown drama because of Zay’s injury and how he and Isadora dumped water on their greatest rival at the moment, but Dr. Han carefully interrupts. She explains that there’s actually something she wants to open this appointment with, something that she thinks it’s important to start exploring as soon as possible. Farkle is confused but intrigued, sitting upright and gesturing for her to go on.

She turns to her notes, pulling out a couple of prepared informational sheets and taking on a gentler, more professional tone. She explains that after their last few meetings, she thought a lot about some of the patterns Farkle had been mentioning in his recovery. She decided to follow her hunch and do a little more research, and she thinks she’s landed on what might be the root after conferring with his primary care physician.

Dr. Han: It’s my belief that you show all the clear symptoms of bipolar disorder.

It’s like all the air gets sucked out of the room. Farkle freezes, staring at her, but words stop making sense. She continues to explain how common it is for it to be misdiagnosed as depression, how now they can focus on proper treatment for his actual affliction, how it’s just as manageable with the right approach, but it’s like she’s talking underwater. Everything feels hazy, static, like Farkle is suddenly a thousand miles away.

Farkle: No. No, I -- I can’t be.

Dr. Han: I understand that an unexpected diagnosis can be intimidating. And bipolar disorder, like most mental conditions, is shrouded in a lot of misrepresentation and stigma. But with the right perspective --

Farkle: I’m not. I can’t… I have to go.

Farkle blankly gets to his feet, suddenly certain he has to get out of there. It’s like he’s underwater now too, like he can’t breathe. Dr. Han warns that he’s likely just having a strong reaction to the news, anxiety, but she assures him that the diagnosis does not change anything about him or his prospects. If anything, it will improve things, because now they can confront his reality with the right tools. And it will be safest for him to just relax here and process it during their session.

But no, Farkle can’t stay. He numbly repeats that he has to go, ignoring Dr. Han’s disagreement and stepping out of the office.

INT. THERAPIST’S BUILDING - HALLWAY - NIGHT

Farkle doesn’t stop until he’s fully out of her space, back in the endless office sprawl of a building like this. He waits a moment, dreading Dr. Han chasing after him and dragging him back in there, but she doesn’t come. He collapses back against the door, releasing a shaky exhale and screwing his eyes shut.

Bipolar. He’s bipolar.

A gentle piano begins to play, an iconic familiar riff while we stay close on Farkle’s face.

Song Cue ♫ ♪ “All By Myself” as performed by Eric Carmen || Performed by Farkle Minkus & Zay Babineaux

Farkle takes the first lines of this legendary ode to isolation, singing them softly as the camera slowly eases away from him. The further away we pull, the more his sense of smallness grows, dwarfed by the hallway that seems to stretch on forever.

When I was young, I never needed anyone… those days are gone…

INT. BABINEAUX HOME - ZAY’S BEDROOM - NIGHT

Zay pushes off his mattress and rises to his feet, going a bit too fast at first out of habit and nearly stumbling on his bad ankle. He cringes, falling back on the edge of the bed to right himself. He huffs and hides his head in his hands, easing into the next lines.

Living alone, I think of all the friends I’ve known But when I dial the telephone, nobody’s home…

EXT. THERAPIST’S BUILDING - NIGHT

Farkle emerges onto the steps of the building in the financial district just in time to launch into the chorus. He carries on singing as he begins to make his way home, weaving through the streets and other passersby as if he’s invisible. Although he’s clearly emotional, it’s evident the information hit him hard, because he’s not at all at his usual level of verve.

INT. BABINEAUX HOME - ZAY’S BEDROOM - NIGHT

Zay keeps it tamped down whenever it passes back to him as well, though his limitations are outside of his control. He spends his portion of the vocals at his window, leaning out to breath in the life and excitement of the city he loves that he feels so locked out of.

Whether within or without the city, for vastly different reasons, both Zay and Farkle are feeling the same ache.

INT. MINKUS HOME - NIGHT

Farkle makes it home in time for the piano solo, showing off his proficiency on the instrument lest we dared to forget. Then he and Zay harmonize on the final, showstopping chorus, delivering a whammy even when they’re not quite in top form.

INT. BABINEAUX HOME - ZAY’S BEDROOM - NIGHT

Zay rounds out the number, stepping away from his window and shutting it forlornly.

INT. MINKUS HOME - FARKLE’S BEDROOM - NIGHT

Maya is back to brainstorming in the Minkus home as promised, pacing in front of the moodboard they’ve been working off of for weeks. She’s avidly running through potential pitfalls to their showdown prospects, which seem to be piling up by the minute, while Farkle is seated on the edge of his bed. He’s stone-faced, truly lost in his own head now, and Maya doesn’t fail to notice. As she’s ticking off more items on their doomsday list, she halts and gives him an unimpressed glare.

Maya: … and an inattentive diva. [ snapping in his face ] Farkle! Earth to Farkle!

Farkle: What? Oh, sorry.

Maya: I swear, you have been exceptionally offbeat this week. Of all the times, too, naturally it would be our greatest time of crisis that your zany passion eludes us. Honestly, Farkle, where for art thou? Why have you abandoned me in our time of need?

Farkle: I’m bipolar.

Maya: Okay? And I’m a narcissist. Just because we use pretty words doesn’t change the state of the union, darling.

Farkle, shaky: No, like, I’m literally bipolar.

Maya pauses, actually looking at him. His tone convinces her that he’s not being cheeky, and his sallow expression drives it home. Her demeanor shifts instantly, dropping much of her diva arrogance.

Maya: What?

Farkle: I’m bipolar. I don’t know how many more times I can say it.

Maya: I heard you, I just -- when? How?

Farkle: My whole life, presumably. How, ask God for me.

Maya: Well… well, like, what does that mean? Like, so you’re bipolar, well, what does that mean for --

Farkle: I don’t know. I don’t know, my psychiatrist just told me. I didn’t… I didn’t do a great job of listening to what came after that.

Wow. Silence reigns as Maya attempts to process this new information. Farkle speaks again, even more uncharacteristically timid than before.

Farkle: I know this is bad timing. Just… with this, and everything at school, I don’t know how on top of it I can --

Maya: No, no, of course not. Shh. It’s fine. You don’t have to worry about all that. You need to focus on yourself. On this. Don’t worry about Triple A. I’ll handle it.

Farkle: But Maya --

Maya: I’ve got it. It’s okay.

She pats his shoulders reassuringly, then turns it into a hug. Farkle hesitates for a moment before returning the embrace, desperately leaning into the comfort. Maya remains stalwart for the both of them, features intense as her mind runs to problem-solve a million miles an hour. Based on the furrow of her brow, it seems she might already be onto something.

Maya: I’m going to handle it.

INT. ERIC’S APARTMENT  - NIGHT

Riley, Isadora and Eric sit around the dining table, chatting casually after finishing their meals. Eric looks between the two girls with a warm smile before offering to clear up. 

Riley: I’ll help.

Riley gets up to help Eric clean away the plates, but Isadora places a hand on Riley’s arm to stop her. Riley gives her a questioning look. 

Isadora: I actually… I have something I want to show you. In my room. [ to Eric ] If that’s okay? 

Eric: Of course, go ahead. I’m perfectly capable of filling up the dishwasher on my own.

Intrigued, Riley follows Isadora into her bedroom.

INT. ERIC’S APARTMENT - ISADORA’S BEDROOM - NIGHT

Isadora goes straight to her desk and opens up a notebook to reveal Valerie’s letter. She passes it to a confused Riley, who takes a moment to look over it. When she realizes what it is, she looks up at Isadora with wide eyes. 

Riley: Is this…? 

Isadora: [ with a nod ] A letter to my father. I found it in one of Val’s boxes. You’re the first person I’m telling so don’t… don’t tell Eric or anything. 

Riley: Oh, totally. Sure. [ a beat as she scans through the pages ] Why aren’t you telling him, though? 

Isadora: I don’t really know how I feel about it yet.

Riley guides Isadora to her bed, where they both sit. She collects her thoughts. 

Riley: Did you know anything about your dad before now? 

Isadora: No. I asked about him a few times, like ages ago, but Valerie always claimed she didn’t know who he was. I can’t tell if she was lying or not; I don’t even know when she wrote this. 

Riley: It seems like she didn’t really think about it until he wrote to her. And it definitely seems like he wants to be part of your life. [ a beat ] Do you want him in your life?

Isadora: I don’t know. I don’t even know what that would look like. My gut is screaming at me that it’ll end in disaster, like it always did with my mom, but at the same time… like, I’ve gotten by fine without a dad until now, but it does feel there’s a part of me missing. What if it’s him?

It’s clear that she’s been thinking it over a lot. Riley admits that she isn’t sure what she could say to help considering her complete lack of experience in this department, but suggests again that she should talk to Eric. 

Isadora: I’m scared to. 

Riley: What? Why?

Isadora: I don’t want him to think that he’s not enough for me. He’s the best thing that’s ever happened to me, and I don’t want to ruin it.

Riley places a hand on Isadora’s shoulder and offers a sympathetic smile. Isadora responds by resting her head on Riley’s shoulder, so Riley moves her arm to wrap around her. 

Riley: You know how much Eric cares for you. There’s nothing you could do to ruin it. You’re part of the Matthews family forever now, no matter who your father is and whether you meet him or not. 

Isadora: You’re my favorite cousin. 

Riley: I won’t tell Auggie you said that. And you’re my favorite cousin, too.

Riley plants a kiss on Isadora’s cheek with a ‘muah.’ Isadora pulls a face of disgust and escapes from her grasp as Riley giggles.

Isadora: Minus five cousin points. Auggie’s in the lead now. 

Riley: Nooo!

She chases after Isadora, trying to engulf her in a hug as both girls laugh.

INT. GARDNER HOME - CHARLIE’S BEDROOM - NIGHT

Charlie is back from a late rehearsal for showdown, changing out of his Haverford uniform. He strips off his shirt and places it in the laundry hamper, checking how his clothes from the car wash are faring.

Still damp. At this rate, it feels like they’re never going to go back to normal.

Suddenly, the house below him erupts with sound, voices being raised in the kitchen downstairs. It goes without saying, but raised voices are almost non-existent in the Gardner household. Charlie freezes, listening intently until he recognizes exactly what he’s dreading -- a higher-pitched, defensive voice. Rosie’s voice.

He drops the wet clothes and reaches for the first top he can find -- which just happens to be an AAA sweatshirt -- and yanks it on as he rushes into the hall.

INT. GARDNER HOME - KITCHEN - NIGHT

This time, there’s no question as to whether there is a fight. Rosie and ELEANOR GARDNER are more heated than we’ve ever seen either of them onscreen, yelling at one another and cheeks flushed. Rosie is particularly loud, in near hysterics since she’s young, emotional, and also on defense; Eleanor maintains a cool, superior tone even as she raises her volume.

Charlie slides into the room right in the thick of it, jumping in the middle without hesitation and questioning what the heck is going on. When he can get them to acknowledge him, Eleanor actually seems pleased by his presence, openly welcoming him into the argument.

Eleanor: Oh, perfect, just what we needed. A second opinion. Rosamund, why don’t you tell your brother why you’re in trouble? Go on.

Rosie, on the other hand, is not receptive to Charlie joining the conversation. She loses a lot of her fire, shrinking back and face flushing in embarrassment. Eleanor scoffs, though it seems like this is exactly how she expected her to react.

Eleanor: What’s the matter? Are you suddenly shy? You sure were loud enough arguing back to me about it, and now you won’t tell Charlie?

Charlie: Can someone just tell me what’s going on?!

Eleanor: Gladly!

Eleanor pointedly places Rosie’s phone on the countertop, which she’s been holding the whole time. It’s open to an Instagram photo on an unfamiliar page, one of Rosie’s new friends at her gifted high school. It’s a series of photos from some hangout the freshmen were having, but the photo in question surprisingly features another familiar player -- a bunch of the freshmen are sitting around and laughing, and Rosie is grinning while sitting on the lap of URI MINKUS.

It’s pretty innocent, but the implications are enough. Eleanor relays the whole tale, how one of Rosie’s friends from Catholic school told their mom about the photo in her tagged images and the mother was kind enough to inform Eleanor about it. This is already after a discussion she had with Rosie over this boy when she saw them interacting in a less-than-acceptable manner after school when she picked her up. She thought they had cleared it all up, but apparently not, between this photo and the fact that the text messages between her and this Jewish boy are nothing if not flirtatious.

Rosie: You shouldn’t have even been going through my texts anyway!

Eleanor: Oh, shouldn’t I? I didn’t realize you were the authority now! Privacy is a privilege, Rosamund, and you’re continuing to prove that you haven’t earned it!

They continue to escalate again, Charlie bewildered as he slides the phone towards him to get a better look. The photo really is so… nothing, and the whole argument feels so blown out of proportion. But Charlie knows the patterns, he knows what Bridgette warned him about, and all of the shouting and conflict is making him lightheaded.

Charlie, weary: Stop arguing.

Eleanor: I knew we shouldn’t have let you go to the gifted school. I knew you’d be better off staying in the Catholic system.

Rosie: Then why did you let me go?!

Eleanor: Maybe I shouldn’t have! Maybe that’s the thing I shouldn’t have done! In fact, maybe I’ll have to put a call into the deans and see if they can’t transfer you back --

Rosie, mortified: Mom, no!

Charlie: Stop…

The room is starting to spin a little bit. Charlie braces himself against the countertop, screwing his eyes shut and trying to block out the yelling. But he can’t run from it. He can’t hide.

Rosie: Charlie got to go to a different school! He got to go somewhere new without you breathing down his neck!

Eleanor: Because Charlie is responsible enough to handle it! You don’t see him posting suggestive content, flirting shamelessly, making questionable decisions. I don’t need to monitor your brother because he doesn’t give me any reason to be concerned!

Oh, Eleanor, if only you knew… it’s being invoked and talked about in such a discordant way that acts as the final straw. Charlie tries to catch his breath, but it’s not coming back, and it’s like the whole world is slipping away from him…

If anything will stop an argument, passing out probably does the trick. Charlie stumbles and then collapses onto the tile floor, shocking both Eleanor and Rosie out of their anger. Rosie shrieks and rushes to his side.

Eleanor: Charlie?! Ambrose! [ rushing to the entryway ] Ambrose, Charlie’s -- come quickly! Hurry!

Charlie’s down, all right. Rosie rolls him onto his back, checking for obvious injury -- lucky he didn’t crack his head open or something -- and trying to rouse him. But he’s out like a light… all of the tension slowly fading away…

INT. HAVERFORD PREP - AUDITORIUM - NIGHT

Meanwhile, Brandon is staying late at Haverford once again, only this time he’s not alone. He’s meeting with a mysterious figure, a HIPSTER 20-something man who is probably into photography or a wannabe filmmaker. But he’s clearly there on business, Brandon and the man speaking in hushed tones as they converse even though they’re the only ones around.

Brandon: And you’re sure you’ve got the whole thing? I’m not paying for poor quality or fractions.

Hipster: I’ve been doing this for six years. Think I know what I’m doing at this point. But yes, it’s all there. Professional quality. You’ll be able to see whatever you need to see.

Brandon deems this response satisfactory enough, nodding. He reaches into his pocket and pulls out a small wad of cash, trading it off with whatever object the hipster is offering. When they retract their hands, Brandon comes away with the secret item -- a flash drive.

He scrutinizes it idly while the hipster quickly counts the bills, then they exchange a nod, Brandon thanking him for his service. The hipster makes his exit, Brandon pacing for a bit on the stage and turning over the flash drive in his fingers. Whatever it is, he seems pretty satisfied to have it in his grasp.

He loses some of his easygoing confidence when he hears the auditorium doors open. He slips the flash drive into his blazer pocket and straightens up, narrowing his eyes to assess his new company. When he recognizes who it is, though, an intrigued smirk blooms across his face.

Brandon: Well, well, well. I have to say, this is an unexpected surprise.

Maya Hart. Dressed in one of her sharpest ensembles, Valerie’s fur coat giving her that extra oomph, matching Brandon’s cool sophistication effortlessly. She leisurely saunters her way down the aisle towards the stage, taking her sweet time.

Maya: So this is the fabled Haverford Prep. [ pursing her lips ] I have to say, I was anticipating greater grandeur.

Brandon: It’s hard when the indigent experience excellence for the first time. Never quite meets the expectations of their hapless daydreams… [ off her sneer ] Is there something I can do for you, Hart? Let alone at this late hour?

Maya: Don’t flatter yourself. It’s 8PM.

She’s made her way to the stage now, coming to stand opposite Brandon front and center. There’s a healthy distance between them, keeping them staunchly on opposing sides, but they regard each other with respect. Maya claims she just wanted to come have a little chat, clan leader to clan leader.

Brandon: That so? I thought Friar was your figurehead.

Maya: We both have our respective areas of expertise. I like to think of myself as the Cheney to his Bush. Conservative politics notwithstanding.

Brandon: Was going to say. I don’t see Cheney being much of a swinger for socialist handouts like you all are gunning for. [ sizing her up ] But I’ll admit, I pegged you for a captain rather than a lackey. You sure took front and center at the car wash.

Maya: Ah, yes… the function you so ceremoniously soiled.

Brandon: Hope you’ll forgive the incursion. It’s only business. A little competitive spirit is all.

Maya: Oh, no arguments from me. I’m more incensed I didn’t see it coming. Wish I had thought of it myself.

Brandon chuckles, perhaps a bit won over by her… unique Maya charms. He claims he got the sense they were more alike than different… in fact, if circumstances were different, and they weren’t sworn rivals… Maya catches onto his drift right quick, mirroring his smug charisma as she feigns sympathy.

Maya: So you like what you see. Don’t despair, you’re far from the only one. But I’m afraid that’s a forgone impossibility.

Brandon: [ processing what might be a rejection ] Ah. I see. [ like they’re confidants ] You play for the other team?

Well. That’s a pretty bold assumption to jump to just because she doesn’t want to get with you, Brandon. But Maya maintains her coolness, unperturbed by such arrogant conclusions. She makes a face, as if she’s contemplating.

Maya: … no team. Let’s put it that way.

Brandon: And what’s that supposed to mean exactly?

Maya: The only team I play for is Triple A. And that’s what I’m here for.

Brandon backs off his advances and allows her the floor, back to all business. She tactfully begins to discuss negotiations around senior showdown, dancing around the details of everything going wrong inside the ranks of the A class but letting just enough of her cards show to indicate that she’s only here due to dire circumstances. Then she subtly tries to charm her way to an ideal outcome, brokering a deal where maybe, just perhaps, Haverford might find themselves on the losing side of the showdown confrontation.

You know she’s desperate if Maya is trying to arrange a thrown victory. And Brandon can sense that too, even as aloof as she’s acting, which just makes the whole situation more amusing to him. Though he feigned listening to her pitch, he is all too eager to shoot it down. Why would Haverford want to throw the competition, he muses, when their winning streak is so hot and their competition is apparently so weak?

Brandon: I knew you all were hardly a threat, but this is even more pathetic than I thought. I mean, you and Friar coming to me trying to cut a deal for an easy victory -- what a leadership duo. You all must be in harsher condition than I imagined.

Maya: Wait, what?

Brandon: … you didn’t know? That your president already paid me a little visit earlier in the semester?

Maya doesn’t respond, but the way she’s lost her easy confidence as she stares at him answers for her. Brandon laughs, shaking his head.

Brandon: What presidential teamwork. Clearly, the future of Adams is in outstanding hands. But with such low confidence, and even lower moves you’ll stoop to… no, I believe Haverford is just fine where we are now. We’ll beat you handily, as we have for the last six years, and rest assured Hart, it’ll be with immense pleasure. [ a beat ] You should probably be going, then. The security doesn’t take kindly to riff-raff hanging around our hallowed halls.

He swivels and swaggers offstage, leaving Maya alone and humiliated in enemy territory. She’s fuming, gritting her teeth and fists clenched at her sides.

INT. CHUBBIES - NIGHT

Riley is seated at the counter with her laptop, keeping Lucas company while he works the late shift. She’s running through analytics of the RSVPs they’ve already gotten for the dance fundraiser, which she claims is looking pretty good.

Lucas isn’t in a very optimistic mood, commenting that even if they get half of Manhattan to show up, it probably won’t be enough to cover all their expenses including the scholarships. With their chances at showdown dwindling by the minute… who knows. Maybe he’s not doing absolutely everything he can to make it happen…

Riley closes her laptop, giving him her undivided attention.

Riley: Don’t count Triple A out of showdown just yet, please and thank you. But I think I know what this is really about.

Lucas hesitates, freezing up.

Lucas: You do?

Riley: Yeah. You act like you’re so hard to read, like I don’t know you well enough to figure out when you’re not telling me something.

How could she know… did Zay tell her about seeing Missy in the booth? He swallows. She reaches across the counter and takes his hands, giving him a sympathetic look.

Riley: You’re freaking out over the college essays.

Lucas: Oh. [ a beat ] Yeah, well, I guess I am.

Riley reminds him that he doesn’t have to keep that kind of stuff from her and act like he’s unshakeable all the time. And honestly, she gets why he’s nervous about them. It sucks writing about yourself no matter what -- unless you’re Maya -- but it’ll be even harder for him given the things he’s been through. He hasn’t exactly been encouraged to view himself favorably, at least not until recently. Old habits are hard to break.

Riley: But that’s not necessarily what they’re looking for anyway. You don’t need to prove to them that you’re the most perfect shining candidate to ever apply, you just need to give them a really good story. Make them invested, get them to care about you. Show them a bit of your individuality, your personality -- which you are not short of in either department. And I know for a fact you can draw people in…

She is, after all, a prime example. Lucas still seems doubtful, but her perspective does help. And her belief in him continues to astound him, forged in steel even when everything else feels so unpredictable. Riley leans forward to give him a soft kiss, which lingers between them.

It’s impressive, too, how being with her grounds him. How their closeness doesn’t feel like an intrusion… and somehow, feeling cornered by other forces or put on edge just makes him want to be with her more. Lucas initiates another kiss, forgetting everything else for a moment, taking shelter in that inexplicable safety with her. Riley has no complaints, leaning deeper into it and tightening her touch on his hand.

Then the front door bangs open, the bell jangling ominously. Both of them jump and pull apart. Maya marches into the diner, indignant and blue eyes burning.

Maya: What the hell, Friar?

Lucas: What’s the matter with you now?

Riley: Is everything okay?

Maya: When were you going to tell me you shook down Brandon?

Riley: [ whipping to look at him ] What?

Lucas clams up, straightening upright and taking on a defensive stance. But the sheepish expression on his face gives him away. Busted.

Maya: You know, I think that kind of mercenary maneuver is exactly the sort of decision your VP should know about. Were you just never going to let me in on it?

Riley: Why the hell did you do that?

Maya: I don’t care about that. Friar’s a shady bastard, we all knew his methods were going to be far from clean. Who gives a shit. I’m pissed he decided not to keep me in the loop! Do you have any idea how humiliating it was for me to roll up there only for Brandon Rivas to hand my ass to me on a silver platter? Cocky prick, like he knows absolutely everything --

Riley: Wait, wait. [ eyeing her ] Why were you confronting Brandon?

Oh. Well. Cough. Maya flips her hair off her shoulder, but she can’t give a good excuse that doesn’t make her just as culpable as Lucas. He raises his eyebrows at her, emphasizing that if he’s going down she’s going with him. Riley closes her eyes, trying to catch up to this turn of events.

Riley: Let me get this straight. Both of you went to our competition, at separate times, to try and threaten them into… what? Giving up? Throwing the showdown?

Lucas: I just thought that --

Maya: Our prospects are in shambles even without the money. I was just --

Lucas: And I didn’t want you to be disappointed --

Maya: Everyone is counting on me, we’ve all got a lot riding on --

Riley: Okay, okay, stop. Enough!

Riley holds her hands up, getting them both to shut up. She takes a moment to compose herself, taking a deep breath, then she jumps into fixer mode.

Riley: This must be the week for damage control, because now you’ve really done it. You realize now we’re going to have to bring it even harder, since you’ve made it perfectly clear to Brandon and the Havies that we’re spooked. You wouldn’t go and grovel for mercy if we weren’t.

Lucas: That wasn’t --

Maya, scoffing: I do not grovel --

Riley: I cannot believe you would do something so stupid. [ to Lucas ] And that you would do something like this and not tell me…

Oof… hit him where it hurts, Riles. Lucas lowers his head, avoiding her eyes. Case in point, it doesn’t make anybody look very good. And now, Riley proclaims, she has to fix it once again.

Riley: We’re going to have to brainstorm fast for showdown and make sure everything is in pristine shape, which we already know is a shot in the dark. Call Yindra, tell her to come by our place in twenty. I’ll see if we can get Jeff and Isadora too.

Riley puts her belongings back in her bag and hops off the stool, Maya already heading out. Riley goes to follow her, but she pauses in the doorway and glances back over her shoulder at Lucas. She shakes her head, obviously disappointed.

Riley: I can’t believe you.

She leaves it there, pushing through the doors without another word. Lucas looks after her, ashamed, then curses to himself and lightly hits the counter with his palm.

Break 2.

EXT. DANCE LOT - DREAM SEQUENCE - NIGHT

Charlie is sprawled on the asphalt, just like when he collapsed, the city uncharacteristically quiet around him. When he comes around he jolts upright, spooked at being outside and on his own. He looks around in confusion, no clue where he is or how he got there. He slowly gets to his feet, recognizing the dance lot as a place he’s been before, but unsure where exactly it is or where to go next.

Only one clue exists to help guide him. Music.

It’s quiet, muffled, but he can hear it. A thumping bass, hypnotic beat… he spins until he zeroes in on the source. A heavy metal door installed into the wall opposite him, propped open just slightly, with a neon sign above indicating it’s likely some kind of club. Colorful light leaks out from the crack, mesmerizing and more than intriguing.

But it’s really the music that wins him over. He’s a dancer, and he cannot resist a compelling groove. He cautiously approaches the door, pulling it open and then stepping inside… as the faraway rhythms slowly become a familiar tune...

INT. DANCE CLUB - DREAM SEQUENCE - NIGHT

Song Cue ♫ ♪ “Voulez-Vous” as performed by Mamma Mia! Original Movie Cast || Performed by AAA Seniors & Haverford Seniors

The rambunctious ABBA classic kicks off with a bang, music loud and boldly setting the scene. The lighting is mysterious, electric, the fully romanticized version of what a sultry, exciting disco scene might be like. Charlie is no longer dressed in his everyday clothes but is suddenly styled to match the vibes, sporting a sleek disco suit with Riley’s aforementioned blue dress shirt completing the look.

And as he ventures deeper into the club, he discovers he’s not alone. The place is packed with his classmates both current and former, Haverford populating one side and Adams the other, but all dressed in similar, near identical, disco suits. All eyes lock on him the moment he’s within view, judging him, waiting for him to make a move -- or pick a side.

The vocals start, and Charlie does neither, jumping down from the steps and sliding into the center of the glowing dance floor -- right down the middle of party lines. He starts the number dancing alone, challenging the established status quo in the club, tension mounting around his transgression of crossing lines…

Until Zay pushes through the crowd on the A class side. On both feet, looking fly as ever, no injury in sight and nothing holding him back from showing his stuff.

And here we go again, we know the start, we know the end Masters of the scene

Charlie pauses, locking eyes with Zay. For a moment, finishing up the pre-chorus, they just hold eye contact… letting that tension bubble over…

Then Zay jumps into the center of the floor with him, joining in the dance.

Voulez-vous!

For the first chorus it’s just Zay and Charlie, dancing sometimes together and sometimes in contrast, epitomizing the back-and-forth pull between them. But it’s them, so the dancing is remarkably good, and especially satisfying considering how long it’s been since we saw them share a routine. Their timing and chemistry is just as sharp as ever, and it’s also a relief just to see Zay be able to move again.

Throughout the second verse, they weave back into their respective schools, Charlie’s peers still eyeing each other suspiciously and reluctant to break rank. But Zay manages to get Riley out on the dance floor (with Lucas in tow), and then Charlie nudges Evan. Bit by bit the classes mix and mingle, caught somewhere between dancing in tandem and facing off like foes. This becomes especially pronounced during the bridge about 3 and half minutes in, when the chorus becomes stripped and just relies on “ahas,” Charlie leading the Haverford delegation and Zay fronting the A class as they mirror movements and poses.

Then they officially bleed together, classmates crossing into opposite territory for the final chorus. For those who don’t already have a pair in their respective class (unlike say, Dylan and Asher), they pair with someone from the opposite school, like Brandon and Maya.

And, naturally, Zay and Charlie. They’re back together at the center of it all, intensity rising with the music, choreography much more intertwined this time and very close together. If not breaking charged eye contact were an Olympic sport, they would win gold easily.

The flash. The glamor. The drama. ABBA would be proud! When they round out the final seconds and strike their final pose, Zay and Charlie’s faces are so close, all it would take is a centimeter in either direction…

Zay: Charlie...

Charlie’s eyes flit down to his lips, as if he’s contemplating that very thing…

Rosie, faraway: Charlie!

INT. GARDNER HOME - CHARLIE’S BEDROOM - NIGHT

Alas, not meant to be -- even in dream sequence. Charlie rouses awake when he’s shaken by Rosie, sitting on the bed next to him.

Oh, well. Wouldn’t be the same as doing it for real anyway.

Charlie blinks to adjust back to reality, Rosie releasing a momentous sigh when she sees he’s conscious again. She snaps at him for scaring her, informing him that his fainting spell totally freaked her and Eleanor out. Ambrose is on the phone with their doctor friend right now. He manages to sit up and apologizes for worrying them. It’s probably just… stress.

Rosie: Either way, bad party trick. Mom was so bugged out. You shouldn’t tell her you think it’s stress, or else she’ll probably yank you out of school too and back into Catholic prep.

Charlie: Yeah, speaking of… you really think she’s going to do that to you?

Rosie: … after you passed out, the conversation was basically dropped. If I keep quiet and don’t do anything else to incriminate myself, I think she’ll let it go. [ embittered ] Though sucks that I can’t even text who I want without her knowing every message I send. I doubt she’ll even let me speak to Uri now.

Charlie: Pro-tip? Change his contact name. Mom only goes looking for what she thinks is a problem. If you give him something inconspicuous, she’s never going to know otherwise.

Rosie stares at him, shocked her saltine brother would even think of something like that. I mean, he might be an alcoholic, but still… but it’s good advice all the same. Charlie goes on to explain that he was worried about her, too, and he doesn’t want her to feel like she’s trapped or she has to lash out. You can negotiate with Eleanor, you just have to be clever about it. He doesn’t want her to make the same mistakes that Bridgette did.

Rosie: Yeah, I know… thanks for looking out for me.

Charlie: So… Uri Minkus, huh?

Rosie: Ugh.

Charlie: He’s really that worth sneaking around to text?

Rosie: … I guess you could say… perhaps… maybe… that I have like, the tiniest crush on him. Just a little bit.

Charlie can’t help his smile. He jokes that she should be careful, not because of Eleanor’s concerns, but because if they get married then Farkle is going to become their in-law, and she has no idea what she’s in for if that happens. She groans and nudges Charlie, telling him to shut up, but it’s clear she’s already in better spirits than most of this week. She asks if he’s okay given that all his “stress” is literally making him pass out. Is everything okay with Adams? Charlie admits that he wishes things were easier to navigate than they are.

Charlie: Honestly, I think I’m just naturally gifted at making everything worse. [ with a weak laugh ] Probably should’ve listened to dad when he asked if transferring during senior year was a good idea.

Rosie points out that maybe some of that stress weighing on him is just stuff he creates in his own head. Not to demean it or anything, but like… does everything have to be an anxiety-inducing dilemma? If he wants to go hang out with his friends, from either school, then he should just go do that. He’s allowed to enjoy himself every once and a while and take a break from being the perfect saltine protective older brother. You know, have fun.

Rosie: [ holding up a finger ] Sober fun.

Charlie’s turn to laugh and nudge her. But maybe she has a point. And there might be just the perfect upcoming event where he can relax and have some fun…

INT. ERIC’S APARTMENT - NIGHT

We join Eric and Isadora in the midst of their conversation. Eric reads Valerie’s letter while Isadora watches with her lips pressed together. Once he finishes the letter, he takes a moment to process it. 

Eric: Wow. That’s… a lot. 

Isadora: What do you think? 

Eric: I think that what I think isn’t important at all right now. What do you think? Do you want to get in contact with him?

Isadora thinks about it as she wrings her hands. 

Isadora: I’m not sure. But… you aren’t upset? 

Eric: Why would I be upset? 

Isadora: If I do want to meet him, I’m worried you’ll think that you’re not enough for me or something. I don’t want to hurt you. 

Eric: Isadora, that could never happen. I’m not hurt at all, I just want what’s best for you, and a relationship with your father could be something really good. 

Isadora: What if it isn’t, though? I don’t want to set myself up for disappointment. Again. 

Eric: That’s understandable. You don’t have to make a decision now, though. You have all the time you want to think it over. [ a beat ] If you want, you could write a letter to him yourself. You don’t have to send it, but it can be cathartic to write out everything you’re thinking and feeling about the situation.

Unsure, Isadora pulls a face. Eric reminds her again to just think about it -- no major decisions necessary right now.

INT. AAA - JACK’S OFFICE - DAY

Lucas is meeting with Jack one last time before the dance fundraiser to grab another cash box and go over any last minute details. Jack questions if he’s going to be dressing for the occasion, to which Lucas rolls his eyes but begrudgingly admits that he thinks Riley would be even more upset with him if he didn’t. Though he doesn’t have all the details, Jack assures Lucas that he’s sure Riley isn’t going to be angry for long.

One can only hope. Jack wishes Lucas luck and then he heads out, leaving him to his work. He settles back into it until he lifts his gaze and catches Yancy heading out of the building, checking out for the weekend.

All of Jack’s frustration from his conversation with Evelyn bubbles back up again. He pushes out of his chair, jogging out of his office.

EXT. AAA - DAY

Jack catches Yancy on his way down the steps, telling him that they need to talk. Yancy claims whatever it is can surely wait until Monday, but Jack isn’t having it.

Jack: No, I don’t think your active sabotage of my school can wait another damn second.

Yancy is stunned by his coarse language, effectively halting him long enough to have the confrontation. Well, what then? Jack questions when exactly he planned to let him know about his ongoing anti-campaign against the student government’s scholarship endeavors, or what would drive him and Graham to work to pit the board against them. He knows that they aren’t fond of him, especially after his stunt at the trial, but taking it out on the students? Who does that benefit? What do they gain from that?

Yancy, sharply: Actually, Jackson, you’ve hit the nail on the head. After your little unprofessional display, why wouldn’t we be invested in halting any other schemes you deem a good idea? Particularly when your chosen favorite himself just miraculously managed to become student body president in a school that hates his very existence?

Jack: You have no idea what you’re talking about, and Lucas won that election on his own merit. It had nothing to do with me.

Yancy: It has everything to do with you! Everything does! So long as you are at the helm of this ship, making all the calls, everything ties back to you. And we used to trust you with that power. But all this behavior as of late -- declining lucrative offers, favoring delinquents --

Jack: He is not a delinquent!

Yancy: Or how about cavorting with a fellow employee? [ off his shocked expression ] Oh, come on, Jackson, I’m not naive. Did you and Eric really believe you could flaunt your little flirtation right in front my face and I wouldn’t notice a thing? As if my whole purpose at that school isn’t to keep it from collapsing under your unprofessional whimsy and desires!

This whole time, he’s been observing, watching the operation of AAA from the inside out, trying to determine if Jack remains fit to head the institution. Yancy admits, when Graham first put him up for the job, he was skeptical -- he’d always had great belief in Jack as an educator. He was doubtful that he had really slipped so far… but now he’s seen for himself. There is a certain way things are done, and it seems Jack has forgotten all of his proper perspective in service to that law and order.

Yancy: When I finish my report to the board at the end of the semester, they’ll be the judge of whether or not you deserve to stay where you are. But believe me, if I had it my way, you’d be out of that position and filing for unemployment faster than lightning.

Jack: You can’t do this. You can’t eject me from the role simply because your perspective is too old-fashioned to be flexible. Or empathetic. And unwilling to examine context --

Yancy: Well, we’ll just let the board decide that, won’t we.

Guess we will. Yancy fussily buttons his coat.

Yancy: I would watch yourself if I were you, Jackson. In my opinion, it’s far too late, but we both know how easy it is to tip the scales slightly in your favor. Maybe you’ll salvage this yet. Otherwise, I’d start contemplating alternative paths. Have a good evening.

Yancy stomps down the steps, not waiting for a goodbye. Jack swallows his panic, trying to remain resolute in the face of so much pressure. Scrambling to figure out what to do next...

A groovy disco track bleeds into the soundscape, totally dissonant to Jack’s dread --

INT. DANCE VENUE - NIGHT

Song Cue ♫ ♪ “Streetdance” as performed by Disco Street Machine || Instrumental

The ‘70s dance fundraiser is in full swing, and it seems to be doing well! The venue is packed not just with Adams students but other community members, promising at least some greater revenue from the whole ordeal. The scene is set with funky lighting and a dance floor, along with some flower-power type decorations and a fun mirrorball hanging above it all.

It’s mainly cool to see everyone leaning into the theme and dressed in their best approximations of ‘70s garb. We’ve got funky vests, blazers for days, chunky platform boots, a few bohemian chic vibes, you name it. A few establishing shots show us all these looks and more while the assembled crowd grooves to the disco track. Yogi is wandering with his camera, capturing footage for posterity and social media.

Lucas is manning the check-in table, this time keeping control over the money in his own hands. He maintains a cordial enough demeanor as he interacts with potential patrons, and he is giving some semblance of ‘70s as promised in his collared-shirt-under-sweater look. He’s serving like… gothic Fred Jones, which is about as much as you’re gonna get from him.

Asher and Dylan, on the other hand, are representing much better. Asher is repping the funky vest and puffy sleeve shirt vibe, matched well with some maroon bell-bottoms and swooped back hair, while Dylan is truly going disco with a silky vibrant shirt tucked into silver pants, a huge, chunky pair of Elton John tinted glasses the cherry on top of the ensemble. They ask how cash flow is going, and Lucas claims fine, but they’re not out of the woods by a long shot.

Lucas: If things don’t pick up, I’m going to start pickpocketing.

Asher: Yes, that’s exactly what we need. A literal crook for president.

Dylan: Isn’t that like every president?

Anyway, Lucas needs to chill. Or as Dylan puts it, surrender to the boogie. Which is what he and Asher are going to go do right now -- the dance floor beckons them. Asher leads the way, Dylan walking backwards so he can maintain eye contact with Lucas and literally disco groove away from him as encouragement to give in to the funk. Lucas just shakes his head, unimpressed.

When Lucas gets back to work, who should be waiting to purchase a ticket in but Charlie Gardner. He’s dressed for the occasion too, dressed in dark pants and a white blazer… with Riley’s chosen blue shirt underneath. It seems he followed her guidance and went for it after all. Lucas greets him and commends him for turning out, considering all the bad blood between Haverford and AAA right now. Brave of him to show up.

Doesn’t he know it… but he wants to be here. Lucas takes his money and nods for him to go on in, sending him into the fray.

Meanwhile, Zay is parked at one of the tables, not in the best mood considering he’s surrounded by the boogie and can’t participate. Nigel is doing his best to cheer him up, but it’s sort of a fruitless effort. When Zay catches him eyeing Jade, who the techies managed to extract from the loft to at least enjoy the dance, he sighs and tells him to go have fun. He doesn’t have to waste away with him. Nigel argues against that take, but Zay nods him onward, insisting.

So Nigel bounces to his feet, thanking Zay before cutting through the crowd in the direction of Jade. Zay watches him go, bittersweet at being left alone again.

Charlie skirts the edges for a bit before finding companionship in Farkle, who greets him plainly. He’s dressed like Eric Forman, wearing a simple button down and bellbottoms combo with a loose brown corduroy jacket. He and Charlie briefly catch up, commenting on how the turn out is and how great the aesthetic is. But Farkle is still a bit lost in his own head, and Charlie notices. He elbows him lightly.

Charlie: You okay?

Farkle: [ with some of his usual humor ] Chuck, that’s like asking the sky if it’s red. I think you already know the answer.

But he’ll live. Once he figures some things out… it’ll be fine. It has to be. Vagueness aside, Charlie can tell there’s more to it, but he opts to focus on distraction rather than problem-solving. He’s had enough problem-solving for a lifetime this week. He invites Farkle to go dance instead, playfully challenging him to show what disco moves he’s got up his sleeve.

Farkle: Oh, you’re going to regret this -- and not because I’m good.

Charlie laughs, gesturing for him to lead the way onto the dance floor.

Maya jumps up onto the small stage set up with the DJ booth, taking the microphone and briefly thanking everyone for coming out. No applause necessary for putting it together, really… and she waits until the audience feels compelled to applaud. Then she waves them off “humbly” before reminding them of all the ways they can support the Adams senior class while at this benefit -- mainly financially! And by getting down and boogie-oogie-oogying. Peace!

Lucas shakes his head at Maya’s speech, lightly amused, but all of his calm is wiped away when Missy walks through the door. She’s dressed in simple ‘70s, a gorgeous and slightly revealing silk disco mini dress and with her hair blown out like Farah Fawcett. She cheekily compliments him on his get up.

Missy, sarcastic: An ensemble that elaborate must’ve taken ages to throw together. I see you really put an effort in.

Lucas: Maybe. And what’s your excuse?

Missy: Not everything needs to be silly and over the top. In fact, I think the richest things in life are those that go understated. Left unsaid… makes everything a bit more exciting, anticipating whatever more there might be to explore. [ a beat ] Same goes for fashion.

Lucas: … so are you paying, or what?

Missy: As I understand it, Adams seniors get in free. But since I can afford it…

She reaches into her small satin purse, pulling out a wad of cash. She siphons off about half of it -- way more than a ticket would cost -- and drops it into the cash box for him. He eyes it suspiciously, then flits his glare towards her.

Missy: I thought about our little chat. And you’re right, maybe there needs to be something in it for me -- which in this case is a victory at showdown. We’re embarrassing enough right now as it is. At least with the funding, we’ll look good when we crash and burn. And as for the rest…

She folds up the remaining bills in her hand and holds them out for him, gesture subtle but unmistakable. Lucas stares at the money, then glances around them nervously to make sure no one else is looking.

Lucas: What the hell are you doing?

Missy: Come on, Lucas. Don’t be noble. We know how things are between us. I’m just trying to help. And it stays discreet. Think of it as… a bonus, for all the hard work you’re doing for the A class. [ quieter ] I heard you in the booth. You don’t ask for help. Well, sometimes, you don’t have to beg. You can just take… whatever you want.

She raises her eyebrows, subtly challenging him to take it. Lucas hesitates, holding his breath… it feels like a test, he knows it is… but he’s already taken plenty from her without asking. What’s a little more…

Missy: Davis isn’t going to pay for itself, is it?

No. No it isn’t. She’s right, and he knows his chances of reeling a scholarship are slim to none. Does he really want all of this stress for applications to be for nothing?

Reluctantly, Lucas takes the money from her and slips it into his back pocket. Missy smiles, genuinely pleased, though why it’s hard to say. But it’s clear, now more than ever, that whatever little arrangement they’ve got going on here is a pattern now. It’s not just going to flutter away on its own, and the consequences that might come of it remain a mystery.

Missy: Groovy. Enjoy the dance, Lucas.

Lucas doesn’t respond, using the cash box as an excuse not to look at her. But based on flipping through the amount of money she handed over for the fundraiser, they’re way closer to their goal than before. And that has to make it all worth it, right?

Song Cue ♫ ♪ “September” as performed by Earth, Wind, & Fire || Instrumental

One of the best songs of the decade comes on next, earning an enthusiastic cheer from the crowd. Riley weaves her way through the throng and rushes up to the entrance to find Lucas, Nate in tow. She’s dressed in a shimmery lavender-mauve jumpsuit, a complimentary hair scarf tying together the groovy look. She pushes Nate in front of her.

Riley: Nate here is taking over table duty.

Nate: You know how I love dem bills, my brother.

Riley: So that you can come dance with me.

Lucas cringes, weakly putting up a fight. Oh, no, no, no… but Riley’s already got her hands on him, and her smile is so damn cute, it would be impossible to refuse her. So he lets her drag him out into the crowd.

Once they’re actually on the dance floor, Riley beams at him and pulls him closer, wrapping her arms around his shoulders. Lucas does his best to be a good sport and play along, especially since he’s already in trouble, placing his hands on her hips and casually swaying to the beat.

Lucas: So… does this mean I’m off the hook for the Brandon thing, or…

Riley: Hm… so as long you’re dancing with me and you look so cute in that sweater, I suppose you can be forgiven.

Better than nothing, though Lucas still clearly feels guilty about disappointing her. Just one of many ways he feels like he’s letting her down… but for now she’s happy, so he’ll just focus on touching her waist and how hot she looks in her jumpsuit.

Across the dance floor, Dylan and Asher are in conversation with Jeff and Yindra, Dylan with his arm draped casually around Asher’s shoulders and bouncing to the beat. They’re discussing the everchanging stakes of their showdown routine -- at this point Yindra claims they should just scrap it all and start over, they’ve got equally as bad a shot with the shoddy routine they have now. But Asher claims that would be a disaster, and they should only cross that bridge if they absolutely must.

Dylan spots something that seems to capture his attention, his eyes widening in excitement. He pinches Asher’s ribs and leans closer, Asher tilting his head to listen to his murmur.

Dylan: Shakespeare in Love, straight ahead.

Asher squints through the dancing crowd and finds what he’s talking about -- Nigel and Jade. He’s actually managed to pull her onto the dance floor, engaging in loose and easy grooving together. She’s laughing, waving off how bad a dancer she is, but he holds one of her hands and assures her she’s good.

Totally radical. Asher and Dylan exchange knowing looks, unable to hold back a grin.

Zay is less enthused, mainly because of his current view -- Charlie, dancing with Farkle of all people to one of the greatest songs there is. Not that there’s anything to be concerned about, really, since they’re clearly just goofing around with each other and Farkle is as promised quite an embarrassing disco dancer. But he’s up and moving, free, having fun, making Charlie laugh -- with Charlie looking disgustingly attractive in his expertly chosen shirt -- and it kind of feels like a perfect vignette of what’s locked away from him.

Everything Zay wants, desperately misses, but can’t have.

His brooding is interrupted when Isadora plops down into the chair across from him, giving him a nod in greeting. He asks why she’s not out there grooving on the dance floor, and she sagely says she’s not interested in getting up to boogie so… publicly. She’s amazed Riley got Lucas out there, but that’s only because of her unique Riley charms. It’s torture in her eyes.

Zay: Speak for yourself, but you’re entitled to your whack opinion.

Isadora: I know, I know. This is killing you. And I respect that. Just not for me. [ a beat ] Maybe it’ll give you some peace to know that you being benched is an undeniable tragedy for all of us.

Zay: The considerate part of me says no, but the egotistical side does love it, thank you.

Isadora: You’re welcome. [ with a sigh ] Now there’s talk of changing the routine if we can’t figure out how to fill your vacancy. Not that I don’t think we could pull it off, but it would take all hands on deck and everyone on board, and I don’t see that happening unless there’s no other alternative. Right now, if we could just find someone to fill your spot -- never as strongly, of course --

Zay: Again, my ego thanks you. You’re not going to take the spot?

Isadora: Uh… I mean, I don’t know. A couple of people suggested it, but look, we know I’m no you. I don’t learn as quickly, and I’ve got enough of a track record with performance mishaps on my own. I mean, what if I do it but I completely freeze the moment we have to go out there? My mom’s parting gift to me was giving me the one thing she never had -- stage fright. Doesn’t that seem too risky to throw in there when the stakes are higher than ever?

Zay: Man, I don’t know. I get what you’re saying, but all I know is that I would kill to be able to perform right now. And if you’re debating it at all, then to me, that means you want to -- and if I had the ability to do it, I wouldn’t waste it for a second on what ifs.

Very insightful, Zay. Isadora contemplates this… then she points out to Zay that just because he’s off his feet doesn’t mean he has to fade into oblivion. He’s got to take the time to heal, but that doesn’t mean he can’t be involved in the class or productions. He just has to find new ways to involve himself rather than what he’s used to.

Song Cue ♫ ♪ “Y.M.C.A.” as performed by Village People || Instrumental

Another classic! In an instant, Riley appears at their table, teeming with enthusiasm and reaching for Zay’s hands. She insists that he get up dance with her -- to which he reminds her that he’s booted -- but she points out that anyone can do the Y.M.C.A. It’s just shouting and arms! So he relents, allowing her to help him to his feet, but his grin betrays his aloof demeanor.

Farkle slides over moments later, telling Isadora that she better get up and join them too. If Zay can do it, she has no excuse. She rolls her eyes, but she really can’t argue with him on that.

So the dance wraps up with a flourish, the full class laughing, sing-shouting and goofing off together to the party favorite that literally anyone can do. Nigel and Riley each support Zay on either side, and he looks about as joyful as he has in weeks. Asher and Dylan prevent Lucas from escaping, keeping him on the dance floor and trapping him in the Y.M.C.A groove too. Charlie dances with Haley and Clarissa, who take turns twirling under his arms.

Yogi and Dave make their way through it all, capturing all the joy of a successful fundraiser on camera so they’ll never forget it.

INT. DANCE VENUE - LATER - NIGHT

The party has wrapped up, only the A class hanging around to clean up. Well, the A class and Charlie, who insisted it was no problem to stay back and assist in tidying. He’s working with Nigel and Yindra at stacking chairs, the latter of which comments playfully that he really is too helpful for his own good.

Yindra: Such a good little Christian, truly. It’s like God injected his compassion mission into your cute white boy veins.

Charlie: Well… not that good, admittedly. [ a beat ] I think if he was going to make his prototype golden child, he would’ve skipped the part where he made me gay.

Oop. Wow, a casual coming out -- and with a little humor, too! Charlie is getting better at this. Yindra raises her eyebrows at him, assessing for a moment whether or not he might be joking… and then she breaks into a wide grin, wrapping an arm around his shoulders.

Yindra: Oh, Charlie, Charlie, Charlie… I always knew I liked you. And I should’ve known, considering that awful Les Mis kiss still haunts my nightmares.

She asks how long he’s been out, or at least telling people, and Nigel slides in to proudly note that he told him before Yindra. She rolls her eyes. Charlie admits it’s slow-going and hasn’t been easy, especially with the community outside of AAA, but it feels good every time he does it. Hopefully the rest of his world will turn out tolerant too.

Yindra invites him to her church that Sunday for a change of pace. She’s performing a solo in the choir, so it’ll be guaranteed entertaining, and it might be good for him to see an actually accepting church environment for a change.

Nigel: She just wants to force you to see her ‘70s performance before she shares it with the class on Monday. The more people she can force to be her audience, the better.

Yindra: Hey, now, I don’t care for your sass, Chey Chey.

Either way, her church runs later than his, so it shouldn’t conflict. And Nigel will be there too -- she’s bribing him with brunch -- so it’ll be like a fun little outing. Charlie just seems happy to be connecting with his peers again, so he happily agrees.

Nate, pre-lap: 70… 80… 90…

INT. CHUBBIES - NIGHT

Lucas, Maya, Riley, Dylan, Asher, Isadora, and Farkle are convened in and around the back corner booth, watching nervously as Nate counts the final income from the dance fundraiser. All of them are holding their breath… Maya is pacing like a wildcat, ready to pounce and tear him to shreds if the number is too low.

Isadora: Jesus, Nate, can’t you count any faster?

Nate: No, I don’t cut corners when it comes to money. Now shut up, or I’ll have to start over.

Farkle, exhausted: Hush, Isa. Don’t make him start over.

Silence settles over them again… and Nate finishes counting the bills from the cashbox. He lifts up a finger to halt them from asking, writing the number down and then pulling up the calculator app on his phone. After combining the total from this with the car wash haul…

Nate: We did it. Crazy sons of bitches, we did it!

They officially made the money to pay for the damages and fund their showdown needs. Victory! All of them cheer, hugging each other and clapping enthusiastically. Riley wraps her arms around Lucas and kisses his cheek, while he’s looking pretty relieved.

Nate: I gotta say though, the numbers seem kind of skewed based on the actual attendance we had. Someone must’ve made a huge donation. [ to Lucas ] Did you notice anyone drop some major cash?

Oh, interesting… Lucas pauses, then breezes past the question. He claims it doesn’t matter who donated what -- they’re in the clear, and now they can focus on what matters. It’s time to kick Haverford’s pretentious privileged ass at showdown.

Hear, hear! The group cheers again, exchanging high-fives and reveling in their hard-earned success.

INT. ERIC’S APARTMENT - NIGHT

Isadora arrives home, shedding her jacket and shoes at the door. She’s relaxed, and has a relieved smile on her face. From where he sits on the sofa, Eric looks over to her. 

Isadora: We did it! We raised all the money we need. 

Eric: Oh, amazing! Well done, I’m so proud of you all.

Isadora sits down next to him and exhales. It’s been a long day. 

Isadora: I’ve been thinking about it a lot and I’ve decided to write a letter to Zachary. 

Eric: Tha --

Isadora, interrupting: I don’t know whether I’ll send it or not, but I do think it’ll help just to get my thoughts out there.

Eric nods his agreement, and reminds her that he’ll always be there for her. Just as she starts to ask for help on what to include in the correspondence, there’s a knock at the door. Eric goes to answer it, pleasantly surprised to find Jack waiting on the other side. Although he’s happy to see him, Jack seems stressed, so Isadora gets the hint that she should probably give them some space. She wishes Jack a good night and retreats to her room, leaving them alone.

Eric: Did you hear that they made the money to cover the auditorium damages? I’m honestly impressed, but I guess we should never doubt the A class.

Jack: Yeah… yeah, I did. From Lucas. It’s great.

Eric: … okay, what’s going on. You’ve got your thin voice going, how you get when something is wrong.

Jack doesn’t even bother to ask what that means -- Eric knows him well, it’s hardly a surprise at this point. He releases a strained sigh and explains what happened with Yancy, both about him sabotaging the scholarship fund from within the board and then the confrontation they had on the steps. Eric listens raptly, absorbing some of his dread with every word.

Eric: That sick… I always knew there was something off about him. He’s a corporate sellout through and through -- has been since he joined the board. And he has the gall to lecture you… we’ll get him for this, Jack. We just have to strategize --

Jack: No. No, we can’t do anything. Not right now. Not with so many things on the line.

Jack mentions the other piece of Yancy’s threat -- that he might be put on probation for real and potentially let go. Eric scoffs at this, disbelieving. Jack is well-known in the community… no way he’d get ousted. It’s an empty threat.

Eric: What’ll probably happen is that if anything, they put you off contract, and the position would reopen for applicants. So all you’d have to do is apply again, and Evelyn would hand it back to you without question. Yancy is just reaching, he can’t --

Jack: But Evelyn isn’t the only vote that matters, Eric. If they can flip a decision on something like the scholarships… that affects the students… and I don’t think he’s bluffing. I mean, he brought up Lucas, he mentioned… he mentioned you and me…

Eric shrinks a bit at this. It’s uncomfortable that someone is using their relationship as leverage, implying it’s a bad thing, but he’s also nervous about the way Jack is taking it. He knows how much he cares about AAA. He’d do anything to keep it afloat, to do what’s right for the school.

Eric: So… [ with a deep breath ] What do you want to do?

Jack, softly: Right now… I just think we need to… we need to step back. Put things on hold until the dust settles. My examination period should be over soon, and when this is all sorted, then… then maybe we can…

But for now, they can’t. There’s too much at stake… things both of them care about more than themselves. Although Eric is reluctant, he does his best to keep his emotions in check and nods along. He places a hand on Jack’s shoulder, letting it rest there for a moment. Stroking with his thumb, soaking in the touch for all it’s worth. Who knows when he’ll comfortably get to do it again.

Eric: Whatever you need, Jack. I understand. [ with difficulty ] I’m with you.

Jack nods, grateful. More grateful than he’ll ever know. He holds his gaze for a long moment, then leans forward and presses his lips softly to the corner of his mouth. So close, yet so far… Eric closes his eyes, trying his best not to crack.

Jack pulls back, swallowing hard. He clears his throat and nods, back to a fragile shell of professionalism.

Jack: I’ll see you at school.

Eric returns the nod, but he can’t meet his eyes. Jack hesitates for a moment longer, wishing it wasn’t this way, wishing he could stay… then steps back into the hall, shutting the door behind him.

Like he was never there.

INT. YINDRA’S CHURCH - DAY

Charlie and Nigel are in one of the pews amidst the usual congregation of Yindra’s church, waiting for the choir following the service to begin. Charlie seems excited but nervous, liking the high spirits and jovial energy but worried he’s an imposter just like he is everywhere else. He leans over to Nigel.

Charlie: I stick out like a sore thumb, don’t I?

Nigel: Mm, yeah. But it’s okay, [ patting his arm ] you can’t help that you’re skim milk.

Thank you for that, Nigel. Charlie opens his mouth to respond, but nothing comes out, so it’s a relief when Yindra steps down front and center in her church choir robes to address the congregation. She cheerfully greets them and explains that she got to choose the song for this week, which she used to also fulfill the requirement for her art school lesson. Two birds, one stone, am I right?

Either way, she wants to dedicate the heart of this performance to her peers at school and in attendance this afternoon. She knows they’re all going through stuff, and even though it feels like the end of the world right now, it’ll all be water under the bridge one day. All they can do is take it day by day, and by the grace of God, everything will end up the way it’s meant to be.

Song Cue ♫ ♪ “Bridge Over Troubled Water” as performed by Glee Cast || Performed by Yindra Amino

If anyone could deliver soulful, impressive vocals to rival and honor Mercedes Jones (for those of us who did watch Glee, unlike the Havies), it would be Yindra Amino. And deliver she does, both in the church and on the atrium steps at AAA where she splits this performance. The rest of her choir backing her up gospel style really does add a certain something something, but the true emphasis of the number is the meaning.

Your time has come to shine All your dreams are on their way See how they shine, oh, if you need a friend I'm sailing right behind

When she makes it to the latter half and the gospel kicks off clapping to the beat, the entire congregation leaps to their feet and eagerly joins in. Charlie and Nigel are right there with them -- as is the A class in the atrium intercut of the performance.

Yindra brings it home with a spectacular vocal run, and you have to wonder if she really could make it out there in L.A. on her vocal chops alone. The church erupts into gleeful applause as she wraps up and takes a bow with the choir, beaming bright.

Charlie mirrors her smile, enthusiastically clapping along. Experiencing for an instant what it’s like to feel comfortable in church -- allowed to just be himself.

INT. CHUBBIES - DAY

Lucas is anxiously sitting opposite Riley in the usual booth, watching as she carefully reads over his personal essays. She’s doing her best to maintain a professional and neutral expression while she goes, but it’s impossible to hold back the slightest smile on her lips as she reaches the conclusion. When she lifts her gaze to meet his, but purposefully builds suspense by not saying anything, he cracks.

Lucas: Well? They’re terrible, aren’t they? You can just say it if they are.

Riley: … [ breaking into a grin ] They’re great, Lucas. Brilliant, honestly. Not that I ever had any doubt you could pull it off.

What a relief. Lucas exhales a sigh, thanking her for taking the time to read them. Then he continues, softly apologizing for not telling her about what happened with Brandon. Even though he had good intentions, he knows it doesn’t matter. And if he wanted so much not for her to know, then obviously it was never a good idea to begin with.

Riley: You know it’s fine for you to mess up. I just don’t get why you didn’t tell me.

Lucas: [ after a beat ] I guess I didn’t… it’s like the stupid personal essays. I know that… I’m not a shining example of a good person. I don’t think that’s exactly a secret.

Riley: I don’t think that.

Lucas: I know. I know you don’t, and I think that’s why I didn’t want you to know. Because it’s like every thing I do that shows you that, the more you realize that I’m… less than ideal, then…

Riley tilts her head, giving him a sympathetic look. Then she gets up and comes to join him on his side of the booth, sliding in next to him and leaning forward a bit so he’ll meet her gaze.

Riley: I told you that I wanted a relationship with you, and I meant it. And that’s all of you -- everything, the good and the bad. Even if you make a mistake, or I get disappointed, it doesn’t change that. We’ll find a way to work it out. I want you.

Her way with words makes everything sound so easy, so simple… and maybe it is. Maybe it can be just as simple as wanting each other, loving each other, and making it work. Lucas absorbs the sentiment, smiling shyly and thanking her again.

Hard part out of the way, Riley asks him how he managed to break his writer’s block and write those killer essays. What was his secret? Lucas hums, thinking about it.

Lucas: It was kind of what you said. You know, changing my perspective. When I was trying to write it from my lens, it was… well, you know. But then I just tried to think… what would Riley say? If someone asked you about me. And when I thought about it like that, I don’t know… suddenly, it was easy.

Riley chews her lip, smile blossoming on her face. She pulls him into a gentle kiss, one that he returns before swiftly stealing another one. She nudges her forehead against his, fondness shining in her eyes as she looks at him.

It’s no mystery how thinking like her made for some unbeatable work.

Billy, pre-lap: I knew it. I knew he wasn’t loyal.

INT. HAVERFORD PREP - SENIOR LOUNGE - DAY

Dweezil’s phone is sitting on the tabletop, open to the Adams social media page. Displayed are a handful of photos Yogi took during the ‘70s dance… including one clearly featuring Charlie, dancing with Haley and Clarissa. Although it looks like he’s having a swell time, Billy and Dweezil don’t seem happy for their classmate at all.

Dweezil: He’s never really jumped ship. We know he’s always hanging out with Riley anyway. This is just definitive proof.

Billy: Showdown is in a week. If he’s still this comfortable with his old chums, who knows how much shit he’s telling them.

Dweezil: And what if he finds out about the plan? No way he’s going to let us do it.

Billy: I say we take care of this now. Before it interferes with our performance.

Dweezil: He might blow everything.

Billy: Brandon. You have to have an opinion on this shit.

Opposite them and seated at the table, Brandon is examining the photograph for himself. He’s unperturbed as usual, thoughtful and contemplative. He doesn’t comment until Billy and Dweezil basically demand input from him, at which point he offers a calm smile.

Brandon: It’s nice to see him enjoying himself, isn’t it? I like Charles. He’s a nice kid. [ a beat, then suavely ] And a coward.

Brandon gingerly places Dweezil’s phone back on the desk, reclining back in his chair.

Brandon: I’m not worried about him.

Billy: Man, you’re kidding --

Dweezil: And what if he decides to --

Brandon: Don’t you get it? He’s not going to do anything. If there’s one thing you can count on with Charles, it’s that he’s spineless. He’s not feeding them information, and even if he does take offense to something we do, he isn’t going to do shit. Gardner is soft, and he’s the least of our worries. But in a week it’s not even going to matter. Especially not when we’ve got this.

Brandon retrieves the flash drive from his blazer pocket, placing it on the table between them. Billy and Dweezil eye it with interest -- they all clearly know what it contains.

Brandon: Once we crack into this, it’s over. We’re going to crush Adams like we do every year -- whether Charles helps or not.

INT. AAA - AUDITORIUM - DAY

Ah, to be back in the warm embrace of the auditorium -- even if it’s still a bit banged up. It’ll take a little while longer to get the auditorium back in tip-top shape, but the A class can at least come home to roost in it again, which is where they gather for the kick off the next week.

All of them give a round of applause to Harley for his assistance in repairing their mistakes, and hope that he enjoyed the performances of the last few days. He assures them he did, though as he understands it, the week isn’t quite over yet. He steps back and allows Jade to take front and center.

She thanks all of them for being patient with her while she finished up her portfolio materials, and at this point she only has one more request. Behind her, Dave and Dylan roll out the racks with her ‘70s portfolio costumes, and she explains that she needs models to pose for the photographs she’s going to include in her application of all her hard work. Now hm… where on Earth is she going to find suitable, available models for free who she just happened to know all the measurements of and would fit perfectly into these custom costumes…

Song Cue ♫ ♪ “Shake Your Booty” as performed by Forever In Your Mind || Performed by AAA Seniors

Riley beams, claiming she thinks she knows where they could find a few volunteers. The A class launches to their feet, rushing the stage to see what Jade has in store.

INT. AAA - BOYS DRESSING ROOM - DAY

The boys kick off this energetic, bopping closing number, changing into their Jade ‘70s ensembles and grooving in the dressing room. Sliding through the wall --

INT. AAA - GIRLS DRESSING ROOM - DAY

The girls are doing the same, fluffing their hair and doing each other’s make up as they sing into the mirrors. Once they’re all set, Yindra leads the way out into the dressing room hall…

INT. AAA - DRESSING ROOM HALL - DAY

Where they meet up with the boys, strutting in their fierce, authentically ‘70s looks. They make a mad dash for the auditorium --

INT. AAA - AUDITORIUM - DAY

And reclaim their stage, breaking into disco grooves as they toss around solo lines and show off their outfits. Jade stands with Yogi and helps him direct the costume shoot, both of them dressed up as well with Jade sporting the stereotypical but Jade-infused bohemian flower power girl look with a flowy white dress with puffy sleeves and a leather headband laced with wildflowers.

On the bridge, we get a montage of all of the A class posing in their outfits as they dance to get their pictures taken. This highlights not only how much we love this silly crop of seniors, but also how fantastic and individualized Jade’s costumes truly are. Paired with the earnest and jubilant performance, it’s a truly lovable showing.

Then they bring it on home with a disco line dance, all breaking into the same groovy choreography and all in their ‘70s garb. Zay watches from the audience with Lucas and the faculty, for once seemingly not in despair over being benched and still getting a custom outfit of his own. Dylan and Asher are front and center, and they pull Jade into it on the last few lines, so she also gets her boogie in before the day is done.

If one thing is clear, it’s that disco is far from dead, thank you very much! And while the A class has a lot on their plates -- and insurmountable stakes ahead -- it’s hard not to feel hopeful when they’ve got each other.

Whether that’s enough, well, soon we’ll find out.

END OF EPISODE.

[mintchochipkookie]

hiii so I know your post about how ridiculous the growing number of anti-zuko takes are was from months ago, but I somehow ran into a lot of them the other day and your post was a very necessary palette cleanser so. first of all thank you for that!! though you did mention that there’s 2 instances where you don’t think zuko’s particularly well-written, and I’m really curious as to what those are if you’d like to share

Ah, thank you Anon, that's so nice to hear. I get irrationally worked up when I see bad Zuko and Toph takes so that rant kinda just got away from me hahah

And yes, there are only 2 things I would rewrite about Zuko's entire arc. The first is a minor scene from the finale that quite frankly, didn’t need to be there at all? I think it was Br*ke’s attempt at humour and it makes me want to pull my hair out because the logic of writing that scene is beyond me. When they’re looking for Aang, Toph is talking about her relationship with her parents (or lack thereof) and Zuko just makes a face and basically tells her to shut up?????????? Have these men watched their own show I’m so–

Literally in the previous episode Toph and Zuko have a heart to heart about Iroh’s love for him, but suddenly let’s play Toph’s trauma up for laughs I’m actually getting so heated rn lmao. The overdramatic violins playing while she talks and the offhanded “worst field trip ever” while Zuko walks away, wow such writing much wow. How many decisions were made to write, animate, and include that in the final cut, and what did it add to the story? Jackshit, and it’s very uncharacteristic for Zuko, who has been nothing but empathetic and caring for a season and a half, so go figure.

The second one. sigh. I don’t even want to talk about it because someone will def jump on the bullshit narrative of me being a dumb salty ZK shipper. So I’m gonna give yet another disclaimer for this fandom. I’ve answered plenty of asks about this in the past too, and I’ve made it very clear that my feelings about the canon ships (and certain characters) were not affected by my love for Zutara, rather it was the other way round. While watching the show I certainly thought that there was a lot in the writing that implied Zutara, it wasn’t until I sat with the show for a couple of weeks that I realised actually really love the ship. I was angry at the end kisses and stand by the fact that no one should’ve kissed and coupled up, but the fact that it was those two…guys I just. Who allowed these men to write for television I’m crying.

Anyone who’s been here a while knows that I’m not much of a shipper and I’ve never shipped a non-canon ship before because I’m not one of those people who goes out of their way to find hidden romantic subtext between two characters who so much as exist in the same space. I’d much rather explore other relationship dynamics, and tend to get quite bored by romance in general.

So yeah, I stand by the fact that the two canon couples are completely antithetical to the show’s message, and ultimately Br*ke’s fixation on the other one is what led to the show’s end and their protagonist being absolute trash. Talking specifically about Ma/iko tho. Like. The whole point of making them date at the start of S3 was to show us how Zuko doesn’t fit into that life anymore and how it brings out the worst in him???? It was to show us how much he’s changed and how M/ai represents the core FN imperialistic ideologies and how Zuko disagrees with it on a fundamental level???????????? She literally calls him a traitor for defecting, like what. And then suddenly “she loves him more than she fears Azula” (oh lordy I could go on for hours about how that was another completely fucking wasted opportunity to explore an interesting dynamic between the FN girls. And also how that line makes no sense for Mai, and if anyone was scared of Azula, it was Ty Lee but oh well). And then cut to the end scene and they’re making out again without having addressed any of the actual issues in their relationship??? Cool. I hate it here. Reach for your dreams kids, cuz if these men can be successful “writers”, you can do anything!!!!

[kaypeace21]

Lets talk about how these spotify songs confirm byler’s endgame.

Will’s songs

Don’t you forget about me: illustrates Will’s feelings after Mike says they won’t be together for the rest of their lives (but have to get gfs). Love’s “strange” (stranger things). And Will fears change will pull them apart- and as it rains he hopes Mike won’t forget about him/ and questions if Mike will ‘ever love him’. And Mike in the rain (instead of “walking on by?”) calls his name.

“Tell me your troubles and doubts.Giving me everything inside and out and Love’s strange so real in the dark. Think of the tender things that we were working on…Slow change may pull us apart.Don’t you, forget about me.Don’t, don’t, don’t, don’t.Don’t you, forget about me.Will you stand above me?Look my way, never love me?Rain keeps falling, rain keeps falling.Down, down, down.Will you recognize me?Call my name or walk on by? rain keeps falling, rain keeps falling. “

“Don’t you try and pretend. It’s my feeling we’ll win in the end.I won’t harm you or touch your defenses-Vanity and security.Don’t you forget about meI’ll be alone, dancing you know it baby .Going to take you apart.I’ll put us back together at heart, baby Don’t you, forget about me.”

( Will physically took them ‘apart’ -from the photo. But in the end it’s also Mike who fears Will will forget about him too. And Will doesn’t harm Mike by picking at his insecurities - like lack of ‘security' in their relationship. But just says the truth that it’s “not possible” to replace him (after he moves). And of course deep down they know they’ll be together in the end. )

upsidedown: Just Will saying he loves Mike and he turns Will ‘insideout” (like the previous song) and “upsidedown”. And he loves him but he’s “crazy’ (cough ‘crazy together’) to think Mike is all his. But no matter what he’ll always love Mike.

“I said, “Upside down, you’re turning me.You’re giving love instinctively.Boy, you turn me inside out .And ‘round and 'round-Upside down…Instinctively, you give to me the love that I need.I cherish the moments with you… no one makes me feel like you do…I know you got charm and appeal.You always play the field.I’m crazy to think you’re all mine.As long as the sun continues to shine.There’s a place in my heart for you, that’s the bottom line.”

here i go again: Will saying he’s “not going to fall in love” ever (like he said in s3) cause he doesn’t want to waste time on Mike. But he keeps backpedalling on the idea and desiring to love Mike for ‘the rest of his days’. Like how Will said he thought they’d never get gfs but play games for the rest of their lives.

“ (verse 3)And here I go again on my own.Goin’ down the only road I’ve ever known…Like a drifter, I was born to walk alone.And I’ve made up my mind.I ain’t wasting no more time . (verse 4)Just another heart in need of rescue- waiting on love’s sweet charity.I’m gonna hold on for the rest of my days'Cause I know what it means to walk along the lonely street of dreams (verse 5) And here I go again on my own .Goin’ down the only road I’ve ever known.Like a drifter, I was born to walk alone.And I’ve made up my mind I ain’t wasting no more time.BUT here I go again.Here I go again.Here I go again.Ooh baby, ooh yeah.”

Take my breath away: This excerpt speaks for itself that byler is real/endgame after Will moves/s4 and 5. XD

Mike’s songs

Will’s canon Spotify playlist. He ALSO has the song “I’m still standing” by Elton John (who is gay)? Aka cause Mike has a ‘romantic comeback’ with Will XD

I’m still standing’ is a guy bragging about a breakup and now feeling like a kid -lol Mike saying he feels like a 7 y old after the breakup . And moving on -lol it’s mileven).   The album is from “to be continued...” I MEAN, C’mon. That’s , very on the nose for s4 byler happening after mileven XD

‘Your blood, like winter, freezes just like ice” (when El broke up with Mike , “cold as ice” played).”I got a taste of love in a simple way.And if you need to know why I’m still standing.You just fade away.Don’t you know I’m still standing better than I ever did?Looking like a true survivor, feeling like a little kid.And I’m still standing after all this time.Picking up the pieces of my life without you on my mind.”

‘Baby I lied’, also reminds me of the byler fight where Mike insults Will/talks about El and then says to Will “ But, we’re not kids anymore. I mean, what did you think, REALLY?  That we’d never get girlfriends? Sit in my basement and play games for the rest of our lives?” Causing Will to storm off crying- thinking Mike doesn’t even imagine Will being there for the rest of his life (in favor of a girlfriend).And then Mike (although already knowing of his feelings for Will) realizing that it wasn’t a temporary crush/phase- but that he was in love with Will. And only realizing he can’t live without him when Will left. Making it sink it to Mike that he was lying to Will during their fight.

“Did I say that I’d be okay if you said good-bye? And did I promise you I could take it if we were through? And forget about these feelings inside? Baby I lied when I told you I could walk away .Baby I lied…And did I ever tell myself I could always find someone else? Did I say if you left today it’d be no surprise? Did I ever leave any doubt I could hold up if you walked out? I know I told you that I could survive. Baby I lied…And now that I can see you walking out of my life . Saying good-bye, I realize….”

also ‘Love is a battlefield’ (could be recontextualized/interpreted through a que*r lens  given the time period-typical hom*phobia) . Love would be considered a ‘battlefield’. ( The song could be. about 2 people refusing to state their feelings/ holding back from doing anything romantic. Despite both people in the song secretly knowing the other secretly reciprocates mutual romantic feelings)  . But they fear pursuing anything cause society says their love would be ‘wrong’. It also reminds me of s3 byler fight . Both ‘standing’ secretly in ‘heartache’. One character in the song(Mike) being mean to the singer who’s angry and wants to go home (Will). Then after that (Mike/song character) begs the singer (Will) to stay but then is mean to the singer again . So in response (Will/singer) gets annoyed and then asks ‘am I in your way? or am I the ‘best thing’ you have?(s2 byler ref). And the singer could internally question if they made a move on the Mike (/song character) would they be rejected? And like that singer ,Will, also throws Mike’s words in his face by saying he actually did think they’d be together for the rest of their lives without girlfriends (cause he may suspects Mike is full of shit?). The singer pretty much says-when it becomes impossible to ignore your romantic feelings for me - you’ll realize you’ll need me ! The song also emphasizes they’re “young” (kids) and Will/the singer  questions if their love will get  “old” , but quickly decides their love can’t get ‘old’ or die (despite Mike’s lies stating the contrary) * Also saying “no promises” could be a ref to show it’s the opposite of mileven who have the promise line.*Seems like the song is from Will’s pov. 

“We are young.(Heartache to heartache) We stand. No promises(No demands)…We are strong. No one can tell us we’re wrong. Searching our hearts for so long. Both of us knowing, love is a battlefield. You’re begging me to go. Then making me stay. Why do you hurt me so bad? It would help me to know : Do I stand in your way?Or am I the ‘best thing’ you have?When I’m losing control.Will you turn me away? And when all this gets old,will it still feel the same?There’s no way this will die. But if we get much closer.I could lose control.And if your heart surrenders-you’ll need me to hold.”

‘Kiss off’ could also be seen through a queer lens aka Mike trying to deny he’s gay but realizing at the end of s3 it’s not a phase. And hopefully learning to accept it in s4.

“I need someone, a person to talk to. Someone who’d care to love. Could it be you?could it be you?Situation gets rough. Then I start to panic. It’s not enough!it’s just a habit! Hey, kid your sick. Well, darling this is it! You can all just kiss off into the air!Behind my back I can see them stare.They’ll hurt me bad . But I won’t mind. They’ll hurt me bad, they do it all the time.” 

El’s songs

 The power of Love is the 1st song that shows El desire to learn about love despite it scaring her and not really understanding her relationship with Mike. (it’s a very heteronormative idea- “I’m your man /i’m your women” so we’ll fall in love). It also shows her more questionable behavior like spying on Mike. (The later songs illustrate mileven falling apart.)

“Even though there may be times it seems I'm far away. Never wonder where I am'.Cause I am always by your side.'Cause I am your lady.And you are my man...We're heading for something.Somewhere I've never been.Sometimes I am frightened.But I'm ready to learn of the Power Of Love.”

  (The second song)Another one bites the dust is about a dysfunctional romantic relationship.

Girls just want to have fun illustrates El’s annoyance with both Hopper controlling her, and Mike (like Hopper trying to control her) and keep her away from the outside world. And just preferring hanging out with Max and not having a romantic relationship.

“ (verse 2)My father yells, "What you gonna do with your life?".Oh daddy dear, you know you're still number one.But girls, they wanna have fun... (verse 4) Some boys take a beautiful girl and hide her away from the rest of the world.I want to be the one to walks in the sun.Oh girls, they wanna have fun.Oh girls just wanna have.That's all they really want. Some fun.”

Don’t tell me lies - (El in s4) saying they’re whole relationship is a lie and she was ‘naive’ to think otherwise.But now she knows her Mike will be with someone else and their relationship was always based on a lie. And she’s ok on her own. “Every move you made before was never meant for real.Over my naivety is this how I should feel?...they'll never ever be another one.Don't tell me lies.Don't tell me lies.Looking back I realize it's always been this way.We must note what has gone and never turn away...Broken loose from indecision.Now I'm alright on my own...I guess I'm alright on my own.”

 I feel like i’ve talked the lying aspect to death but it’s an important element to their relationship.

Mike while apologizing to El at the grocery store never apologizes for lying -despite it being the cause of the breakup . He never apologized for lying cause the love is the lie- like Max said “boyfriends lie ALL THE TIME”. And it’s why the camera panned to Will when Lucas asked why Mike lied to her. And he never answers El’s question of ‘why do you lie?!’ (he just looks up silent and guilt ridden).  In s2, Mike says “i never gave up on you (to El). “ When moments earlier he says to Max “it took her just like it took Bob.” HE’S LYING AGAIN . He thought she was d*ad.Plus he also fought with Hopper in s2 (’about El’) in Will’s room too. He wasn’t actually calling Hopper the liar he was calling himself “a stupid disgusting liar”out of self hate . That scene was foreshadowing his lying to El in s3 (about his feelings for her). He blamed Hopper for his feelings for Will cause he told himself it wouldn’t have escalated if El had been around to ‘fix him’ . “I BLAME YOU! NOTHING ABOUT THIS IS OK! NOTHING ABOUT THIS IS OK. YOU STUPID DISGUSTING liar, liar, liar, liar”.starts crying.

In s3, mike (in Will’s room) did not reciprocate El’s kiss/ or say ‘i love you ‘ back  and had his eyes open while the same exact song plays that robin came out to: called ‘the first i love you’. These are the only times the song plays in s3. The ‘first i love you’ also sounds like ‘the first lie’ - that song played when jancy said they were just friends. it sounds the same cause jancy lied about it not being romantic while mileven lied by saying it was.  

Ugh- why are the tags not working? I guess , please, reblog if the tags continue to act up or else no one will see this.XD

[robinsgayshoes]

sibling bonds

ok this is just kinda a rant about how the sibling bonds in stranger things are completely ignored because i just need to write all this out. also fair warning i am not very eloquent when writing so sorry about that.

something that I have always loved about stranger things is how interconnected all the characters were, they’re all connected to eachother through friends, love interests, siblings; they’re all like one big family and i guess thats really what struck me so much about it. and while i adore the found family themes in the show (and fan fiction lmao) i really want to see some more of the sibling bonds.

mike and nancy

mike and nancy are probably the siblings that i want to see the most of, but we are completely robbed of in pretty much every season. aside from short scenes with a couple exchanged lines the two barely interact, and they have so much potential! they’re probably my two favourite characters because I think they’re the most complex, they’re both very flawed and can be naive, headstrong and outright rude but they both care so much for the people they love. and i want to see them talking about their love affairs with the byers boys, about their trauma (especially about nancy losing barb because that was so glossed over even if season 2 had the “justice for barb” storyline”), about their parents and their loveless marriage, about anything and everything really. even natalia dyer said like four years ago that she wanted to see the wheeler sibling relationship explored further, but what do the duffers do? keep them apart for like the entirety of the following seasons. im honestly so disappointed that it looks like the pair will be separated this season again, and am just staying hopeful that they at least have some sort of communication throughout the season or have an emotional scene when they reunite. basically i just want to see them being open with eachother and i feel like if their relationship is not explored it would be a real shame and honestly (for me at least) a big let down.

will and jonathan (and eleven)

these two have probably had the most sibling interaction but its like only in season one and kind of in season two. tbh jonathan was really sidelined for like all of season three (and season two as well) but im hopeful that he will get more screen time in season four. and obviously will was also kinda sidelined in season three (especially after dominating the plot in season two), and I feel like both characters deserve so much more. i thought the jonathan and will thing was super cute in season one, and the little bits in season two, and i really want to see that extended especially if more byler stuff happens and jonathan catches on (though i do think he already kinda knows). i think also because will, jonathan and el are all outsiders and “different” i would really like to see the sibling bond there, but maybe thats just my soft heart wanting cute moments for the three of them.

lucas and erica

both these characters deserve more development and it honestly seems kinda racially motivated that they both have very one dimensional personalities. don’t get me wrong i love lucas and erica but in s3 lucas was just kinda there to be mike’s straight friend who teaches him how to make things work with el (because mike’s gay) and erica’s the sassy black girl who delivers (albeit hilarious) one liners and doesn’t really have much of a personality other than that. tbh as much as I want to see them interact and have cute sibling moments (which I think we’re potentially getting because they seem to be working together in s4) I want them to have their own individual character journeys as well. because I love them and i want them to have the same attention that the other (white) characters get. 

so in summary i just want sibling moments that last longer than 20 seconds and have actual depth and meaning, rather than nancy just shepherding round the kids with steve and mike going off to california and the byers splitting up and lucas and erica having like no scenes together. if the duffers incorporated the sibling bonds more it would honestly elevate the show so much for me (as I am sure it would for many others) and i am just trying to stay hopeful that they surprise us and give us these moments.

[theji]

SDOC 4 Ep 1 Commentary

I told myself to wait till Sunday to watch SDOC cos it was getting late already and my Sunday is free. But no, the heart wants what it wants so... I ended up watching it till 5+ am. No regrets though I'm feeling a bit like a zombie now. 😅

Sharing some stray thoughts and observations. I'll keep spoilers to a minimum.

100% watching the show for DD's reactions. The dancing comes second.

DD and Bouboo = True Love

Poor Yang Kai but if his weibo post is anything to go by, we might see some changes in future.

I like how the 4 captains have distinct styles for their ice breaking sessions. Han Geng be like, come let's have tea and chat 😆 while DD is all business-like "Come, who wanna go first?" (But he is very respectful and truly excited to see his team mates perform. This is in line with his straightforward nature, to just get right into the groove of things.)

DD cueing Bouboo first cos he wants to see how he has improved/changed in the past year.

Henry seems like an easily impressed, overly excited kid. I'm looking forward to see how his team does.

I like the International mix of dancers and backgrounds. I'm hoping the production team won't skew things too much towards Chinese culture. Some of the dancers kept saying things like wanna show them the beauty of Chinese culture, show them the abilities of Chinese dancers, representing China etc. It's not wrong to be proud but I think first and foremost, it should still be about street dance, engaging with and learning from one another.

I'm quite liking the Japanese contestants so far. Especially ACKY. He seems fun.

AC seems like an interesting character. I'm hoping to see more of and from them.

I like how Ibuki held her own during the battle with Bouboo. And she's excellent. I've never seen arms move that fast amongst all the past waackers. #girlpower

DD and Ye Yin makes a cute team. Love the nugget of info that DD borrowed the hat from Ye Yin. It matches real well with his outfit.

Highlight of the episode was definitely DD's locking performance. And I had a proud mama moment when several contestants, even GOGO Brothers complimented DD on his skills.

I was grooving alone in my room in the dark in the wee hours of the morning while watching the show. Don't judge.

DD's outfits choices are excellent. The white singlet should make another appearance.

Compared to S3, DD seems more relaxed and chill, more at ease and familiar with things. Can tell that he's really enjoying himself there even though it's tough. He looks like a happy and excited kid all the time, whooping and giving his teammates ample cheers and encouragement etc. Last season he was more reserved and tended to defer to his cool personna, at least on screen. From his opening dance we can already see the difference. That dance was more playful compared to his usual ones and his expressions were super on-point. This reminded me of what he said to the girls during P101, that expressions, and not just dance moves, are also important part of a performance.

I think it's also obvious that winning is less of a priority for DD this time round. Of cos he's still competitive and would try to win again but more importantly, it's the experience, the learning and street dance spirit and culture that take precedence. Last season he was all about choosing team members who are strong in battle, cos he wants the strength. But this time round, he allowed Ye Yin to go against GOGO Brothers instead of the other expected choice. On one hand, it's to sort of fulfill Ye Yin's dream (a good captain takes care of his team and listens to their opinions). On the other hand, it shows that he's confident of his other pairings, esp Bouboo and his own locking performance. And he's reserving his ammo for round 2. He's strategic and willing to take risks. He's smart. And I hope more people can see this part of him, instead of just thinking that he's a pretty face and good dancer.

I'm really happy to see DD's growth and just to see him doing things that he likes. Seeing him in his element. Seeing him shine. I can't wait for the other episodes to air!!

Still a boy. A cute, happy little boy. Love him!!

[blizabrth]

FMK!!!!!

Round One: S1/S2/S4 Beth

Round Two: S1/S2/S3 Annie

do you have to make everything difficult

ROUND ONE — beth

fuck: part of me wants to say “none of the above” because beth scares me but if we’re going there i will go all the way with the scariest version, season 4

marry: season 1, leave dean babygirl let me be your househusband i will treat you right. you’ll legit never have to do the dishes again.

k(eep bricked into the wall of my cellar)ill: season 2

ROUND TWO — annie (this was HARD)

fuck: season 2, her dirty girl side was on full display multiple times let’s goooo

marry: season 3, she feels the most wifeable here maybe idk, her desire for self-discovery and growth is my fav

kill: season 1

fuck, marry, kill

[themidnightcircusshow]

I, as of three hours ago, have finished Legion. Here are some thoughts before I start going through everyone else’s posts.

Let me start off by saying I love almost everything. S1 was near perfect, s3 was also really good, s2 was decent. It is probably the only show that has given me nearly every trope I’ve ever loved in one neat little package, with the added bonus of Charles Xavier. I liked the ending quite a lot, and I think almost everyone’s character arcs wrapped up lovely (Kerry and Cary? The Xaviers? Lenny? Gorgeous, all round).

I think the only real but unfortunately foundation-ruining flaw is that season 2 finale, which sadly heavily impacts season 3. Because *muffled screaming*. 

I think that scene (you all know which one) so horribly proves that sometimes it is instantly obvious that something was written by a man. Did that need to be included? No. It added nothing. Syd had already turned against David because of Melanie!Farouk, so adding that on top did nothing but make things viscerally uncomfortable for the audience and put the show in a position that it never quite realised it was in. From that point on, it was never clear what the show was wanting us to think. Not in a ‘the show wants the audience to make tough choices’ way, but in a ‘the show has stepped into an issue way too muddled for it to tackle and I don’t think it knows’ way. Because the simple question is why this was introduced. Why have your main character, in an act that was so unbelievably OOC that it comes more out of nowhere than the musical sequences, sexually assault his love interest? Why in the world would you do that?! The show put itself in the position where we had to take a real world lens to David’s actions and treat it as assaulting the woman he loves, in which case asking us to sympathise with him is disturbing and uncomfortable. Except that was so out of character and also kind of understandable (David erasing Syd’s memory of her time with Farouk, not the sexual assault) that it was almost impossible not to side with David in a way, in which case it felt like an intimately painful portrayal of a mentally ill man being hunted down.

Following that, nothing David’s former allies did made sense. Why would any of them side with Farouk to the point of letting him roam free, even if they believed that David was evil? Why were they so determined to kill David? They keep saying it’s because David was going to “destroy the world”, but this is only based on the word of Farouk. Even if he told them that Future!Syd told him this, why would they believe him? Especially because Present!Syd already had doubts about Future!Syd. So instead, all through season 3 there’s this persistent feeling that everyone is attacking David for no reason. He erased Syd’s memory, but because he erased her memory of Farouk’s manipulation. Apparently he was kidnapping teenage girls, but everyone in the cult was there of their own free will (they don’t believe Switch is there as David’s friend rather than a brainwashed crony, so we can guess they think everyone there has been manipulated or forced into staying when we see no reason not to think they’re just... a hippy cult). He attacked their airship, but only because they kidnapped Switch (and were keeping her in a vat, for the record). They blame him for the time demons and clearly think it was malicious, but it’s just David trying to stop all the bad things from happening. When Kerry says they should kill baby David, it feels absurd because we have no reason to understand why they hate David so much! When everyone keeps saying Syd will be fine now that she never meets David, it’s just confusing! Syd using David’s mental illness almost like a slur feels bizarre because David hasn’t done anything to warrant this.

And it all comes back to the s2 finale. If you want David to go evil, have him go evil. Have him destroy something. Have him go to far in the name of revenge against Farouk. Have Divad or DvD take over and kill some people. David was already perfectly set up to go evil in a sympathetic way, so adding something with dire real world baggage just makes things complicated in a way the show does not want. It tries to tackle sexual assault, but in a way that is just so clearly a man’s understanding of feminism. Syd says ‘me first’ and ‘I fear the men they turn into’ and yada yada yada, without earning it. The implications with telepathy and possession were more than enough to deal with that topic; what the show actually did just does not work. 

[lambourngb]

Post finale thoughts: I watched live, I never do that since I am usually spending time with my partner on Monday nights, and he doesn’t watch the show. I pulled the ‘it was just my birthday during the plague card’ and won. (Or lost?? hahaha) Anyway. Long rambling thoughts under the break.

It’s like they heard my complaints about the pacing of 2x11 and 2x12, and said “hold my beer” for 2x13. So much happened, and happened so fast, I could barely get invested or get mad about it. Is that a victory?  Are we not allowed to sit and breathe in any of the emotionally destroying scenes?

I listened to malex shippers through this season say “don’t worry, Miluca is breaking up in the finale” and I kept shaking my head going, “No? Like they seem solid? They really care about each other?” and then it actually happened- immediately after an “I love you” exchange no-less... and I’m like, what the hell? Don’t get me wrong, I’m happy that’s over but it still felt emotionally empty. But no time for that feeling because there’s more to go---

I absolutely loved the 1947 stories though, and now I wonder about Tripp. He really loved Nora. How did he survive watching her pace the cage in Caulfield? Pre-season 2 I was very meh about the flashbacks because I had enough to feast with the main cast, but now, I take it all back. I would have loved more of ‘47 and less of the Stef storyline. I want to know how long that skeleton was there. Do we have only Jesse’s word that Tripp was an old man in 1987? Does Arturo remember him? Also Harlan is a moron because a body under a wooden floor would have had some significant decomp smells for weeks and months. I guess no one walked by the shed while that was going on....

ETA: Okay Alex told Michael when the shed was built by Harlan when he was 70, so what year was that ? Tripp was alive in 1987 according to Jesse but I still don’t trust anything Jesse said about Tripp being factual since he was only sharing that to manipulate Alex into trusting him (and somehow getting the ship piece from Michael). I want to like Tripp but....yeah. 

Liz- I love her and still do, but I was rather waiting for the hubris of science experiments to come into play and I felt rather robbed it didn’t materialize, that the conflicts between her and Max were very set in the relationship dynamic? Wanting to know who she was outside of him? Lots of build up over ethics and exposure, but then it came down to it, it was boundaries and preservation of self while in a soulmate relationship....Though if anyone studies Stef and her recovery too closely, that hubris card will still be in play.

Other things I was looking forward to and was left a little empty by- Jesse Manes dying. It was... very quick and I could barely enjoy the moment. I will have to re-watch the town gossip scenes to figure out how a veteran getting shot during a fire is dying a hero? Was Michelle Valenti just so happy Jesse was dead, she didn’t investigate the discharge of a firearm? Again, I’m happy he’s dead although it was something I didn’t anticipate happening with how the show was trending toward redemption messages. Jesse was a lost cause, but Flint is not? Both radicalized young but one you still have time to save? Okay. 

I absolutely loved the shed scene. Michael going for the hammer, Alex still flinching a bit away from it, before he is reassured by Michael? I could have lived in that scene. Maria sending Michael with food- what a choice, bringing a casserole to the family of the man who killed yours- I loved that growth for Michael. He showed up for Alex and for Gregory. Good god I would have loved the look on Greg’s face when Michael shoved a dish in his hands, “thanks for killing him but also I really wanted to do that myself, here have this meatloaf?”

As for the song and the ending Malex scene, I enjoyed it. I didn’t want Michael hopping from one relationship to another, so I get why he didn’t immediately drop to his knees with a marriage proposal. I do wish he had stayed in the bar, listened to the song, let Alex know that he was still working on meeting him halfway.

And the Forrest stuff? So I dunno if this is unpopular or what, but I do not ship it for the same reasons I never shipped Maria and Michael. I am an OTP diehard, cosmic soulmates or bust. I blacklisted Forlex last October once his name was released and have no intentions of whitelisting it. With the departure of Jesse, there’s room for a reoccurring guest star, and as much as I would love Gregory Manes stepping in, I am pretty sure those minutes are going to go to Forrest in S3. My pre-season 2 thoughts were, “okay they can both date other people at the same time and move back together when the time is right” and now it’s shaping up to be another round of “watch one date and the other be alone” ? Do not want. I didn’t like it with Alex, and I don’t like it with Michael.

Also some of the discourse around that final scene- the whole “good it’s time for Michael to pine” or “Make Michael stew in jealousy” - makes me intensely uncomfortable and it’s directly counter to what Alex wrote in his song- he doesn’t want to keep score anymore with Michael. So can we just stop with that idea that Michael needs to be punished while he sits on the sidelines during this whole Alex dates Forrest thing? I get why people want it, because that’s how fandom saw Alex while Maria and Michael dated but it’s not what the character Alex Manes wants?

Anyway, still have no idea what this show is supposed to be about. Is it cosmic soul mates with alien imprinting? Is it you can love many people at the same time? Is it have fun with someone else until you settle down forever?

Final thought- Listen, I can write a fixit with a dead girl coming back to life and Noah getting flambéed. That fit very nicely with a crime story/investigation frame. What am I supposed to do with clone (?) Max? Or Max’s dad? How am I supposed to make that make sense?

Staring down the barrel of a long hiatus with the carrot of “happier and lighter Malex” in s3 held out in front again, with the whole promise that Carina wants Malex’s reunion to be emotionally earned.... and 2x13 is littered with unearned plot resolutions. So. Still a clown I guess. Still here.

[annaliss17]

Ani Is The Biggest Mary Sue Since The Invetion Of The Term.

Prepare for quite a long rant peppered with heavy sarcasm and spoilers. This is also posted on reddit.

In S3 we see Hannah Baker replaced as main character with Ani Achola. Now, before I start to get into this I want to make very clear the fact that I hold nothing against her skin color or gender and neither the actress who plays the character. I just hate her for her. Here's why:

1) Not even a couple of minutes into the show, in her case into the shool, and she suddenly is that one girl who gets along with everybody in a place where everyone hated absolutely everyone. She gets along with everyone she comes in contact with, especially the 'bad guy' Bryce Walker. Because it makes total sense for his character to suddenly fall in love with the new girl and not want to be just fuck buddies or something.

2) Everyone tells her everything because, yeah, apparently, it is that easy. Just march up there ask what happened and they will tell you everything in detail. The characters included her so fast, it makes me wonder why weren't they so cooperative with the police since they were all about telling everything that happened since they started school. Stupid.

3) The main character and the main villan fall in love with her, fight for her and because of her, because it is totally unpredictable to be involved a love triangle a couple of weeks into a new town. Cliche.

4) She became everyone's best friend although she barely knew their names. Best example is Jessica Davis who treats her probably better than/just like Hannah. Because it doesn't make any sense for Jess to be close with Courtney (who has been sexually assaulted as well up to a point) or Sheri (What happened to Sheri?) or even poor Chloe who actually had some history with Bryce. But the new girl? Hell yeah!

5) She has some kind of a bad past, a classic Mary Sue trait. Being just with her mother and moving into the house her mother's working in means they are not financially doing okay or extraordinary. She said about Amara Josephine that she is strict and she pretends to be around her someone she is not. Boo hoo, gonna cry in a corner of a sphere room for you love.

6) She is super smart because, God forbid, a classic Mary Sue cannot be stupid. Being into robotics' class and a bunch of other clubs (although she might not really be in them and just say that to get her mother off her back from time to time) and almost always stuck with her nose in books or doing homework if she's not at school.

7) Tying up to what I said previously, almost always with her nose in books, studying, or doing homework, she beats Bryce at poker. And again it makes total sense (please note the irony since you can't hear my tone) for someone like her who doesn't know how to play poker be shockingly good at it despite Bryce obviously playing for years and knowing a trick or two. Bcause beginner's luck beats experience, right?

8) She knows all about comics, different universes, cosplaying, lores, mythology, etc... just like every other girl in the universe.

9) She is shown to be very good at art. Another classic Mary Sue trait, being a good actress or singer or artist, or why not? All in one. So we have so far, art, comics, sewing costumes for cosplaying, brains, super duper friendly, still not convinced? Next one then.

10) She bravely stands up to the bullies. To be specific, Monty. When she and Clay follow him home and he gets out of the house after another round of fighting with his father, Clay just wants to get out of there but she stands her ground asking him if that's blood. Because Monty is really pretending to be a bad guy, ask Tyler, but Clay the coward tells her they need to go because never in history has a Mary Sue backed down when the bully showed up. Monty, in case you haven't noticed, can't hurt a fly and would totally run away if you challenged him. He is super innocent. I heard he can't even throw a punch.

11) Fair warning, this is the biggest spoiler I'm about to give. In the end she saves everyone. Actually just Clay, but yeah she saves the day by blaming Bryce's death entirely on Monty. Monty who considered Bryce his brother and was loyal to him in S2 as a dog would so kill him. It's so obvious. You don't see it because we can't all use our brains like Ani. Because Alex should in no circumstances pay for consciously comitting a murder after not too long ago being the only one who wanted to have the truth come out and everyone face the consequences of what they had done back when the tapes were not public. He's the good guy and Bryce is dead so all hail Ani the hero!

If you read this, thank for your time. I really wanted to get it out of my system because S3 sucked for me specifically because of that Mary Sue, sorry, Ani. If you don't agree, then that's all on you. If you try to argue my arguments with yours, that's fine too perhaps I might even agree with some of them. But don't tell me that she isn't the biggest Mary Sue since the invention of the term because I will totally roll my eyes. I saw from Youtube, Facebook, Insta, Tumblr, that a lot of people don't like her either so feel free to tell me your reasons and let's all pray together that Ani doesn't come back for season 4 to ruin the show.

I hope you have a lovely day/night wherever you are.